ITY   OF    CALIFORNIA 


BRINTON  S   LIBRARY   OF 

ABORIGINAL  AMERICAN   LITERATURE. 

NUMBER  VII. 


ANCIENT 

NAHUATL  POETRY, 

CONTAINING  THE  NAHUATL  TEXT  OF  XXVII  ANCIENT 
MEXICAN  POEMS. 


WITH  A  TRANSLATION,  INTRODUCTION,  NOTES  AND 
VOCABULARY. 


BY 

DANIEL  G.  BRINTON,  A.M.,  M.D., 

Professor-  of  American  Linguistics  and  Archceology  in  the  University 
of  Pennsylvania. 


PHILADELPHIA  : 

D.    G.   BRINTON, 

1890. 


LIBRARY 


OF 


Aboriginal  American 
Literature. 


No.  VII. 


EDITED  BY 

D.    G.    BRINTON.    M.D, 


PHILADELPHIA. 
1887. 


PREFACE. 


It  is  with  some  hesitation  that  I  offer  this  volume  to 
the  scientific  pubHc.  The  text  of  the  ancient  songs 
which  it  contains  offers  extreme  and  pecuhar  difficulties 
to  the  translator,  and  I  have  been  obliged  to  pursue  the 
task  without  assistance  of  any  kind.  Not  a  line  of  them 
has  ever  before  been  rendered  into  an  European  tongue, 
and  my  endeavors  to  obtain  aid  from  some  of  the  Nahu- 
atl  scholars  of  Mexico  have,  for  various  reasons,  proved 
ineffectual.  I  am  therefore  alone  responsible  for  errors 
and  misunderstandings. 

Nevertheless,  I  have  felt  that  these  monuments  of 
ancient  native  literature  are  so  interesting  in  themselves, 
and  so  worthy  of  publication,  that  they  should  be  placed 
at  the  disposition  of  scholars  in  their  original  form  with 
the  best  rendering  that  I  could  give  them  at  present,  rather 
than  to  await  the  uncertain  event  of  years  for  a  better. 

The  text  itself  may  be  improved  by  comparison  with 
the  original  MS.  and  with  the  copy  previously  made  by 
the  Licentiate  Chimalpopoca,  referred  to  on  page  48. 
My  own  efforts  in  this  direction  have  been  confined  to  a 
faithful  reproduction  in  print  of  the  MS.  copy  ot  the 
Abbe  Brasseur  deBourbourg. 

The  Notes,  which  might  easily  have  been  extended,  I 
V 


83091 


VI  PREFACE. 

have  confined  within  moderate  compass,  so  as  not  to 
enlarge  unduly  the  bulk  of  the  volume. 

To  some,  the  Vocabulary  may  seem  inadequate.  I 
assume  that  those  persons  who  wish  to  make  a  critical 
study  of  the  original  text  will  provide  themselves  with 
the  Nahuatl  Dictionaries  of  Molina  or  Simeon,  both  of 
which  are  now  easily  obtainable,  thanks  to  Mr.  Julius 
Platzmann  for  the  reprint  of  Molina.  I  also  assume  that 
such  students  will  acquaint  themselves  with  the  rules  of 
grammar  and  laws  of  word-building  of  the  tongue,  and 
that  they  will  use  the  vocabulary  merely  as  a  labor-sav- 
ing means  of  reaching  the  themes  of  compounds  and 
unusual  forms  of  words.  Employed  in  this  manner,  it 
will,  I  hope,  be  found  adequate. 

In  conclusion,  I  would  mention  that  there  is  a  large 
body  of  Nahuatl  literature  yet  unpublished,  both  prose 
and  poetry,  modern  and  ancient,  and  as  the  Nahuatl 
tongue  is  one  of  the  most  highly  developed  on  the  Amer- 
ican continent,  it  is  greatly  to  be  desired  that  all  this 
material  should  be  at  the  command  of  students.  The 
Nahuatl,  moreover,  is  not  a  difficult  tongue ;  for  an 
Englishman  or  a  Frenchman,  I  should  say  it  is  easier  to 
acquire  than  German,  its  grammar  being  simple  and  reg- 
ular, and  its  sounds  soft  and  sonorous.  It  has  special 
recommendations,  therefore,  to  one  who  would  acquaint 
himself  with  an  American  lan£:ua2:e. 


CONTENTS. 


PAGE 

PREFACE, vi 

INTRODUCTION, 

§  I.  The  National  Love  of  Poetry,  .  .  9 
§  2.  The  Poet  and  His  Work,  .  .  .12 
§  3.  The  Themes  and  Classes  of  the  Songs,  .  13 
§  4.  Prosody  of  the  Songs,  .  .  .  •  1 7 
§  5.  The  Vocal  Delivery  of  the  Songs,  .  .  20 
§  6.  The  Instrumental  Accompaniment,  ,  .21 
§  7.  The  Poetic  Dialect,  .         .         .         .26 

§  8.  The      Preservation      of     the     Ancient 

Songs, 31 

§  9.  The    LX  Songs  of  the  King  Nezahual- 

coyotl,  .         .         .         .         .         .         .35 

§  10.  The    History   of  the  Present    Collec- 
tion,      . 47 

Ancient  Nahuatl  Poems  : 

I.   Song  at  the  Beginning,  .         ,         .         .         -55 
II.  A  Spring  Song,  an  Otomi  Song,  a  Plain  Song,     59 

III.  Another  Plain  Song,       .         .         .         .         .61 

IV.  An  Otomi  Song  of  the  Mexicans,    .         .         -65 
V.  Another  Plain  Song  of  the  Mexicans,   .         -67 

VI.  Another  Chalco-song,   a  Poem  of  Tetlapan 

Quetzanitzin, 69 

VII.  Another, 71 

vii 


VUl 


CONTENTS. 


VIII.  Composed  by  a  Certain  Ruler  in  Memory  of 

Former  Rulers, 

IX.  An  Otomi  Song  of  Sadness, 
X.  A  Spring  Song  of  the  Mexicans,     . 
XI.  Another,  ....... 

xii.  A  Spring  Song,  a  Song  of  Exhortation,  be 

cause  Certain  Ones  did  not  go  to  War, 
xiii.  A  Song  of  Huexotzinco,  . 
XIV.  A  Christian  Song,    . 
XV.  The  Reign  of  Tezozomoctli 

XVI.  A  Song  Urging  to  War,  . 

XVII.  A  Flower  Song, 
xviii.  A  Song  of  Tollan,  . 

XIX.  A  Christian  Song,   . 
XX.  A  Song  Lamenting  the  Toltecs, 
XXI.  A  Song  of  the  Huexotzincos,  Coming  to  Ask 

Aid  of  Montezuma  Against  Tlaxcalla, 
XXII.  A  Flower  Song,        ..... 

xxiii.  A  Song  of  the  Prince  Nezahualcovotl,  . 
XXIV.  Another,.         ...... 

XXV.  A  Song  of  Lamentation,  .... 

XXVI.  A  Song  Relating    to    the  Lord   Nezahual 

PILLI, 

xxvii.  A  Christian  Song,  ..... 

Notes, 

Vocabulary,   ....... 

Index  of  Nahuatl  Proper  Names,  with  Explana 
TIONS,  ........ 


73 
75 
77 
79 

8i 

83 

87 

89 

95 

99 

105 

109 

III 

113 
117 
119 
121 
123 

125 
127 

129  • 
149 

171 


ANCIENT 
NAHUATL   POETRY. 


INTRODUCTION. 


§  I .    The  National  Love  of  Poetry. 

The  passionate  love  with  which  the  Nahuas  cultivated  song, 
music  and  the  dance  is  a  subject  of  frequent  comment  by  the 
historians  of  Mexico.  These  arts  are  invariably  mentioned 
as  prominent  features  of  the  aboriginal  civilization  ;  no  pub- 
lic ceremony  was  complete  without  them ;  they  were  indis- 
pensable in  the  religious  services  held  in  the  temples ;  through 
their  assistance  the  sacred  and  historical  traditions  were  pre- 
served ;  and  the  entertainments  of  individuals  received  their 
chief  lustre  and  charm  from  their  association  with  these  arts. 

The  profession  of  the  poet  stood  in  highest  honor.  It  was 
the  custom  before  the  Conquest  for  every  town,  every  ruler 
and  every  person  of  importance  to  maintain  a  company  of 
singers  and  dancers,  paying  them  fixed  salaries,  and  the 
early  writer,  Duran,  tells  us  that  this  custom  continued  in 
his  own  time,  long  after  the  Conquest.  He  sensibly  adds, 
that  he  can  see  nothing  improper  in  it,  although  it  was  con- 
B  9 


10  INTRODUCTION. 

demned  by  some  of  the  Spaniards.'  In  the  training  of  these 
artists  their  patrons  took  a  deep  personal  interest,  and  were 
not  at  all  tolerant  of  neglected  duties.  We  are  told  that  the 
chief  selected  the  song  which  was  to  be  sung,  and  the  tune 
by  which  it  was  to  be  accompanied ;  and  did  any  one  of  the 
choir  sing  falsely,  a  drummer  beat  out  of  time,  or  a  dancer 
strike  an  incorrect  attitude,  the  unfortunate  artist  was  in- 
stantly called  forth,  placed  in  bonds  and  summarily  executed 
the  next  morning  !  - 

With  critics  of  such  severity  to  please,  no  wonder  that  it 
was  necessary  to  begin  the  training  early,  and  to  set  apart 
for  it  definite  places  and  regular  teachers.  Therefore  it  was 
one  of  the  established  duties  of  the  teachers  in  the  calmecac 
or  public  school,  "to  teach  the  pupils  all  the  verses  of  the 
sacred  songs  which  were  written  in  characters  in  their 
books. ' '  ^  There  were  also  special  schools,  called  aiicoyan, 
singing  places,  "where  both  sexes  were  taught  to  sing  the 
popular  songs  and  to  dance  to  the  sound  of  the  drums. ^  In 
the  public  ceremonies  it  was  no  uncommon  occurrence  for 

^  Diego  Duran,  Historia  de  las  Indias  de  Nueva  Espaiia,  Tom.  I,  p. 
233  ;  and  compare  Geronimo  de  Mendieta,  Historia  Eclesiastica  Indiana, 
Lib.  II,  cap.  31. 

2  Sahagun,  Historia  de  iVtiez'a  Espafla,  Lib.  VIII,  cap.  26. 

*  Saliagun,  Historia  de  Ahieva  Espafla,  Lib.  Ill,  cap.  8. 

*  Citicoyan,  from  cuica,  song,  and  the  place-ending  yan,  which  is  added 
to  the  impersonal  form  of  the  verb,  in  this  instance,  cuicoa.  Mr.  Bancroft 
entirely  misapprehends  Tezozomoc's  words  about  these  establishments, 
and  gives  an  erroneous  rendering  of  the  term.  See  his  Amative  Races  of 
the  Pacific  Const,  Vol.  II,  p.  290,  and  Tezozomoc,  Cronica  Mexicana, 
cap.  18. 


THE    NATIONAL   LOVE    OF    POETRY.  11 

the  audience  to  join  in  the  song  and  dance  until  sometimes 
many  thousands  would  thus  be  seized  with  the  contagion  of 
the  rhythmical  motion,  and  i^ass  hours  intoxicated  (to  use  a 
favorite  expression  of  the  Nahuatl  poets)  with  the  cadence 
and  the  movement. 

After  the  Conquest  the  Church  set  its  face  firmly  against 
the  continuance  of  these  amusements.  Few  of  the  priests 
had  the  liberal  views  of  Father  Duran,  already  quoted ; 
most  of  them  were  of  the  opinion  of  Torquemada,  who 
urges  the  clergy  "  to  forbid  the  singing  of  the  ancient 
songs,  because  all  of  them  are  full  of  idolatrous  memo- 
ries, or  of  diabolical  and  suspicious  allusions  of  the  same 
character."  ' 

To  take  the  place  of  the  older  melodies,  the  natives 
were  taught  the  use  of  the  musical  instruments  introduced 
by  the  Spaniards,  and  very  soon  acquired  no  little  pro- 
ficiency, so  that  they  could  perform  upon  them,  compose 
original  pieces,  and  manufacture  most  of  the  instruments 
themselves. - 

To  this  day  the  old  love  of  the  song  and  dance  continues 
in  the  Indian  villages;  and  though  the  themes  are  changed, 
the  forms  remain  with  little  alteration.  Travelers  describe 
the  movements  as  slow,  and  consisting  more  in  bending  and 
swaying  the  body  than   in  motions  of  the  feet ;  while  the 

1  Juan  de  Torquemada,  Monarquia  Indiana,  Lib.  VI,  cap.  43. 

2  Torquemada,  Monarquia  Indiana,  Lib.  XVII,  cap.  3.  Didacus 
Valades,  who  was  in  Mexico  about  1550,  writes  of  the  natives  :  "  Habent 
instrumenta  musica  permulta  in  quibus  Kmulatione  quadam  se  exercent." 
Rhetorica  Christiana,  Pars.  IV,  cap.  24. 


12  INTRODUCTION. 

songs  chanted  either  refer  to  some  saint  or  biblical  charac- 
ter, or  are  erotic  and  pave  the  way  to  orgies. ' 

^  2.    The  Poet  and  his  Work. 

The  Nahuatl  word  for  a  song  or  poem  is  cuicatl.  It  is 
derived  from  the  verb  atica,  to  sing,  a  term  probably  imi- 
tative or  onomatopoietic  in  origin,  as  it  is  also  a  general 
expression  for  the  twittering  of  birds.  The  singer  was 
called  cuicani,  and  is  distinguished  from  the  composer  of 
the  song,  the  poet,  to  whom  was  applied  the  term  cuicapicqui, 
in  which  compound  the  last  member,  picqui,  corresponds 
strictly  to  the  Greek  Trofjjrr^?,  being  a  derivative  oi  piqui,  to 
make,  to  create."  Sometimes  he  was  also  called  ciiica- 
tlamantini,  ' '  skilled  in  song. ' ' 

It  is  evident  from  these  words,  all  of  which  belong  to  the 
ancient  language,  that  the  distinction  between  the  one  who 
composed  the  poems  and  those  who  sang  them  was  well 
established,  and  that  the  Nahuatl  poetry  was,  therefore, 
something  much  above  mere  improvisation,  as  some  have 
thought.  This  does  not  alter  the  fact  that  a  professed 
bard  usually  sang  songs  of  his  own  composition,  as  well 
as  those  obtained  from  other  sources.  This  is  obvious  from 
the  songs  in  this  collection,  many  of  which  contain  the 
exi)ression  ///  cuicani,  I,  the  singer,  which  also  refers  to  the 
maker  of  the  song. 

1  Descriptions  are  given  by  Edward  Muhlenpfordt,  Die  Re/'ublik  Mexico, 
r.d.  I,  pp.  250-52  (Hannover,  1S44). 

*  Molina  translates  piijui,  "  crear  6  plasmar  Dios  alguna  cosa  de 
nuevo."      Vocabiilario  de  la  Lengtia  Mexicana,  s.  v. 


THE    THEMES    AND    CLASSES    OF   THE    SONGS.       13 

In  the  classical  work  of  Sahagun,  the  author  describes 
the  ancient  poet:  "The  worthy  singer  has  a  clear  mind 
and  a  strong  memory.  He  composes  songs  himself  and 
learns  those  of  others,  and  is  always  ready  to  impart  either 
to  the  fellows  of  his  craft.  He  sings  with  a  well-trained 
voice,  and  is  careful  to  practice  in  private  before  he  appears 
before  the  public.  The  unworthy  singer,  on  the  other  hand, 
is  ignorant  and  indolent.  What  he  learns  he  will  not  com- 
municate to  others.  His  voice  is  hoarse  and  untrained, 
and  he  is  at  once  envious  and  boastful.'" 

§  3.    The  Themes  and  Classes  of  the  Songs. 

From  what  he  could  learn  about  them  some  two  cen- 
turies or  more  after  the  Conquest,  the  antiquary  Boturini 
classified  all  the  ancient  songs  under  two  general  heads, 
the  one  treating  mainly  of  historical  themes,  while  the 
other  was  devoted  to  purely  fictitious,  emotional  or  imagi- 
native subjects.^  His  terse  classification  is  expanded  by  the 
Abbe  Clavigero,  who  states  that  the  themes  of  the  ancient 
poets  were  various,  some  chanting  the  praises  of  the  gods 
or  petitioning  them  for  favors,  others  recalled  the  history 
of  former  generations,  others  were  didactic  and  inculcated 
correct  habits  of  life,  while  others,  finally,  were  in  lighter 
vein,  treating  of  hunting,  games  and  love.^ 

His  remarks  were  probably  a  generalization  from  a  chapter 
in  Torquemada's  Monarquia  Indiana,  in  which   that  writer 

1  Sahagun,  Historia  de  Nueva  Espana,  Lib.  X,  cap.  8. 

2  Boturini,  Idea  de  una  Nueva  Historia  General,  p.  97. 
»  Clavigero,  Storia  anlica  di  Messico,  Lib.  VH,  p.  175. 


14  INTRODUCTION. 

states  that  the  songs  at  the  sacred  festivals  differed  in  sub- 
ject with  the  different  months  and  seasons.  Thus,  in  the 
second  month  of  their  calendar,  at  its  stated  festival,  the 
people  sang  the  greatness  of  their  rulers ;  in  the  seventh 
month  all  the  songs  were  of  love,  of  women,  or  of  hunt- 
ing ;  in  the  eighth  the  chants  recalled  the  noble  deeds  of 
their  ancestors  and  their  divine  origin  ;  while  in  the  ninth 
month  nothing  was  heard  but  verses  fraught  with  lamenta- 
tion for  the  dead/  With  less  minuteness,  Father  Duran 
gives  almost  the  same  information.  He  himself  had  often 
heard  the  songs  which  Montezuma  of  Tenochtitlan,  and 
Nezahualpizintli  of  Tezcuco,  had  ordered  to  be  composed 
in  their  own  honor,  describing  their  noble  lineage,  their 
riches,  their  grandeur  and  their  victories.  These  songs 
were  in  his  day  still  sung  at  the  public  dances  of  the 
natives,  and  he  adds,  "although  they  were  filled  with  lau- 
dation of  their  ancient  rulers,  it  gave  me  much  pleasure 
to  hear  the  praises  of  such  grandeur."  There  were  other 
poets,  he  observes,  who  lived  in  the  temples  and  composed 
songs  exclusively  in  honor  of  the  gods.'^ 

These  general  expressions  may  be  supplemented  by  a  list 
of  terms,  specifying  particular  classes  of  songs,  preserved 
by  various  writers.     These  are  as  follows:  — 

melaJiuaciiicatl :  this  is  translated  by  Tezozomoc,  "a 
straight  and  true  song."''  It  is  a  compound  of  melahuac, 
straight,  direct,   true ;    and  ciiicatl,  song.     It   was  a  begin- 

'  Torciucmada,  Monnn/iiia  Iiuiiana,  Lib.  X,  cap.  34. 

2  Duran,  Hist,  tie  la  Indias  de  A^ueva  EspaHa,  Tom.  I,  p.  233. 

'  Tezozomoc,  Cronica  Afexicana,  cap.  64. 


THE    THEMES    AND    CLASSES    OF   THE   SONGS.      15 

ning  or  opening  song  at  the  festivals,  and  apparently  de- 
rived its  name  from  its  greater  intelligibility  and  directness 
of  expression.  A  synonym,  derived  from  the  same  root, 
is  tlamelauhcayotl,  which  appears  in  the  title  to  some  of 
the  songs  in   the  present  collection. 

xopancuicatl :  this  term  is  spelled  by  Ixtlilxochitl,  xompa- 
cuicatl,  and  explained  to  mean  "a  song  of  the  spring" 
(from  xopan,  springtime,  cuicatl,  song).  The  expression 
seems  to  be  figurative,  referring  to  the  beginning  or  early 
life  of  things.  Thus,  the  prophetic  songs  of  Nezahual- 
coyotl,  those  which  he  sang  when  he  laid  the  foundation 
of  his  great  palace,   bore  this  name.^ 

teiucuicatl :  songs  of  the  nobles  {teuctli,  cuicatl).  These 
were  also  called  quauhcuicatl,  "eagle  songs,"  the  term 
quauhtli,  eagle,  being  applied  to  distinguished  persons. 

xochicuicatl :  flower-song,  one  singing  the  praises  of 
flowers. 

icnociiicatl :  song  of  destitution  or  compassion. 

noteuhcidcaliztli :  "the  song  of  my  lords."  This  ap- 
pears to  be  a  synonymous  expression  for  teucczdcatl ;  it  is 
mentioned  by  Boturini,  who  adds  that  on  the  day  sacred 
to  the  god  Xiuhteuctli  the  king  began  the  song  so  called.^ 

miccacuicatl :  the  song  for  the  dead  {jniqui,  to  die, 
cuicatl).  In  this  solemn  chant  the  singers  were  seated  on 
the  ground,  and  their  hair  was  twisted  in  plaits  around 
their  heads. ^ 

1  Ixtlilxochitl,  Historia  Chichimeca,  cap.  47. 

2  Boturini,  Idea  de  una  Nueva  Histo7-ia  General,  p.  90. 
*  Tezozomoc,  Cronica  Mexicana,  cap.  53. 


16  INTRODUCTION. 

In  addition  to  the  above  terms  drawn  from  the  subject 
or  character  of  the  songs,  there  were  others,  of  geograph- 
ical origin,  apparently  indicating  that  the  song,  or  its  tune, 
or  its  treatment  was  borrowed  from  another  locality  or 
people.     These  are  : — 

Huexotziticayotl :  a  song  of  Huexotzinco,  a  Nahuatl  \.o\\Xi, 
situate  east  of  the  Lake  of  Tezcuco.  This  song  was  sung 
by  the  king  and  superior  nobles  at  certain  festivals,  and, 
in  the  prescribed  order  of  the  chants,  followed  a  fnelahuac- 
cuicatl. ' 

Chalcayotl :  a  song  of  Chalco,  on  the  lake  of  the  same 
name.  This  followed  the  last  mentioned  in  order  of  time 
at  the  festivals. 

Otoncuicatl :  a  song  of  the  Otomis.  These  were  the 
immediate  neighbors  of  the  Nahuas,  but  spoke  a  language 
radically  diverse.  The  songs  so-called  were  sung  fourth 
on  the  list. 

Cuextecayotl :  a  song  of  the  country  of  the  Cuexteca, 
or  Cuextlan,  a  northern  province  of  Mexico. 

Tlauancacuextecayotl :  a  song  of  the  country  of  the 
Tlauancacuexteca. 

Anahuacayotl :  a  song  of  Anahuac,  that  is,  of  a  country 
near  the  water,  either  the  valley  of  Mexico,  or  the  shores  of 
the  ocean. 

Some  very  ancient  sacred  songs  were  referred  to  by 
Tezozomoc  as  peculiar  to  the  worship  of  Huitzilopochtli, 
and,   indeed,    introduced   by  this   potent   divinity.      From 

1  See  Sahagun,  Historia  de  Nenva  EspaJia,  Lib.  W,  chap.  17,  and 
Tezozomoc,  Cronica  Mexicana,  cap.  64. 


PROSODY    OF   THE    SONGS.  17 

their    names,    cuitlaxoteyotl,    zxi^^  tecuilhuicuicatl,^   I   judge 

that  they  referred  to  some  of  those  pederastic  rites  which 

still  prevail  extensively  among  the   natives  of   the  pueblos 

of  New  Mexico,   and  which  have   been  described   by  Dr. 

William  A.  Hammond  and  other  observers.^     One  of  these 

songs  began, 

Cuicoyan  nohuan  mitotia ; 

In-the-place-of-song         with-me  they-dance. 

But  the  old  chronicler,  who  doubtless  knew  it  all  by 
heart,  gives  us  no  more  of  it.^ 

§  4.  Prosody  of  the  Songs. 

The  assertion  is  advanced  by  Boturini  that  the  genu- 
ine ancient  NahuatI  poetry  which  has  been  preserved  is 
in  iambic  metre,  and  he  refers  to  a  song  of  Nezahual- 
coyotl  in  his  collection  to  prove  his  opinion.  What  study 
I  have  given  to  the  prosody  of  the  NahuatI  tongue  leads 
me  to  doubt  the  correctness  of  so  sweeping  a  statement. 
The  vocalic  elements  of  the  language  have  certain  pecu- 
liarities which  prevent  its  poetry  from  entering  unencum- 
bered into  the  domain  of  classical  prosody. 

The  quantity  of  NahuatI  syllables  is  a  very  important 
element  in  the  pronunciation  of  the  tongue,  but  their 
quantity  is  not  confined,  as  in  Latin,   to  long,  short,  and 

^  Ctdtlaxoteyotl,  from  cuitatl,  mierda;  tectdlhuicuicatl,  from  iecuil- 
huaztli,  sello,  tecuilonti,  el  que  lo  haze  a  otro,  pecando  contra  natura. 
Molina,  Vocabulario. 

2  William  A.  Hammond,  The  Disease  of  the  Scythians  {morbus  femi- 
naruvi)  and  Certain  Analogous  Conditions,  in  the  American  fournal  of 
Neurology  and  Psychiatry,  1882.  ^  Cronica  Mexicana,  cap.  2. 


18  INTRODUCTION. 

common.  The  Nahuatl  vowels  are  long,  short,  interme- 
diate, and  "with  stress,"  or  as  the  Spanish  grammarians 
say,  "with  a  jump,"  con  saltillo.  The  last  mentioned  is 
peculiar  to  this  tongue.  The  vowel  so  designated  is  pro- 
nounced with  a  momentary  suspension  or  catching  of  the 
breath,  rendering  it  emphatic. 

These  quantities  are  prominent  features  in  the  formal 
portions  of  the  language,  characterizing  inflections  and 
declinations.  No  common  means  of  designating  them 
have  been  adopted  by  the  grammarians,  and  for  my  pre- 
sent purpose,  I  shall  make  use  of  the  following  signs : — 

a.     ,     short. 

a     ,     intermediate. 

a     ,     long. 

a     ,     with  stress. 
The  general  prosodic  rules  are  : — 

1.  In  polysyllabic  words  in  which  there  are  no  long 
vowels,   all  the  vowels  are  intermediate.       • 

2.  The  vowels  are  long  in  the  penultimate  of  the  plurals 
of  the  imperatives  when  the  preterit  of  the  verb  ends  in  a 
vowel ;  the  Ci  of  the  can  of  the  imperatives ;  the  i  of  the 
t'l  of  the  gerundives ;  tlie  last  vowel  of  the  futures  when 
the  verb  loses  a  vowel  to  form  them ;  the  penultimates 
of  passives  in  lo,  of  impersonals,  of  verbals  in  oni,  illi,  olli 
and  oca,  of  verbal  nouns  with  the  terminations  yan  and 
can;  the  0  of  abstract  nouns  in  otl  in  composition  \  and 
those  derived   from  long  syllables. 

3.  Vowels  are  "with  stress"  when  they  are  tlie  finals 
in  the  i)lurals  of  nouns  and  verbs,  also  in  the  perfect  pre- 
terite,  in  possessives  ending  in  a,  6,   6,  and  in  the  penul- 


PROSODY   OF   THE    SONGS.  19 

tiniate  of  nouns  ending  in  ///,  tia  and  tie  when  these  syl- 
lables are  immediately  preceded  by  the  vowel.  • 

The  practical  importance  of  these  distinctions  may  be 
illustrated  by  the  following  examples  : — 

tdtli  ,  =  father. 

fdt/i  ,  =  thou  drinkest. 

tatli  ,  =  we  drink. 
It  is,  however,  evident  from  this  example  that  the  quan- 
tity of  Nahuatl  syllables  enters  too  much  into  the  strictly 
formal  part  of  the  language  for  rules  of  position,  such  as 
some  of  those  above  given,  to  be  binding;  and  doubtless 
for  this  reason  the  eminent  grammarian  Carlos  de  Tapia 
Zenteno,  who  was  professor  of  the  tongue  in  the  Uni- 
versity of  Mexico,  denies  that  it  can  be  reduced  to  defi- 
nite rules  of  prosody  like  those  of  the   Latin. '^ 

Substituting  accent  for  quantity,  there  would  seem  to 
be  an  iambic  character  to  the  songs.  Thus  the  first  words 
of  Song  I,  weije  probably  chanted  : — 

Nino'  yo  I  no'  notza'  cainpa'  nicu  id  yec  tli'  ahui  aca'  xochiiV  : 
etc. 

1  On  this  subject  the  reader  may  consult  Paredes,  Compendia  del  Arte 
ae  la  Lengtia  Mexicana,  pp.  5,  6,  and  Sandoval,  Arte  de  la  Lengua 
Mexicana,  pp.  60,  61 .  Tapia  Zenteno  whose  Arte  Novissima  de  la  Lengua 
Mexicana  was  published  in  1753,  rejects  altogether  the  saltillo,  and  says 
its  invention  is  of  no  use  except  to  make  students  work  harder !  (pp.  3, 
4.)  The  vowels  with  saltillo,  he  maintains,  are  simply  to  be  pronounced 
with  a  slight  aspiration.  Nevertheless,  the  late  writers  continue  to  employ 
and  describe  the  saltillo,  as  Chimalpopoca,  Epitome  6  Modo  Fdcil  de 
aprender  el  Idioma  Na/niatl,  p.  6.     (Mexico,  1S69.) 

*  Arte  Novissima  de  la  Lengua  Mexicana,  pp.  3,  4. 


20  INTRODUCTION. 

But  the  directions  given  for  the  drums  at  the  beginning 
of  Songs  XVIII,  XIX,  etc.,  do  not  indicate  a  continu- 
ance of  these  feet,  but  of  others,  as  in  XIX:  — 


Indeed,  we  may  suppose  that  the  metre  varied  with  the 
subject  and  the  skill  of  the  poet.  This,  in  fact,  is  the 
precise  statement  of  Father  Duran,'  who  speaks  of  the 
native  poets  as  "giving  to  each  song  a  different  tune 
{sonadd),  as  we  are  accustomed  in  our  poetry  to  have  the 
sonnet,   the  octava  rima  and  the  terceto." 

§  5.    The  Vocal  Delivery  of  the  Song. 

Descriptions  of  the  concerts  so  popular  among  the  Nahuas 
have  been  preserved  by  the  older  writers,  and  it  is  of  the 
highest  importance  to  understand  their  methods  in  order 
to  appreciate  the  songs  presented^  in  this  volume. 

These  concerts  were  held  on  ceremonial  occasions  in 
the  open  air,  in  the  village  squares  or  in  the  courtyards 
of  the  houses.  They  began  in  the  morning  and  usually 
continued  until  nightfall,  occasionally  far  into  the  night. 
The  musicians  occupied  the  centre  of  the  square  and  the 
trained  singers  stood  or  sat  around  them.  When  the  sign 
was  given  to  begin,  the  two  most  skillful  singers,  some- 
times a  man  and  a  woman,  pronounced  the  first  syllables 
of  the  song  slowly  but  with  a  sharp  emphasis ;-  then  the 
drums   began    in   a   low   tone,    and   gradually  increased    in 

'  Duran,  Historia  de  Nuez'a  EspaHa,  Tom.  I,  p.  230. 
2  The  singer  who  began  the  song  was  called  cuicaifo,  "  the  speaker  of 
the  song." 


THE    INSTRUMENTAL   ACCOMPANIMENT.  21 

strength  as  the  song  proceeded ;  the  other  singers  united 
their  voices  until  the  whole  chorus  was  in  action,  and 
often  the  bystanders,  to  the  numbers  of  thousands,  would 
ultimately  join  in  the  words  of  some  familiar  song,  keep- 
ing time  by  concerted  movements  of  the  hands  and  feet. 

Each  verse  or  couplet  of  the  song  was  repeated  three 
or  four  times  before  proceeding  to  the  next,  and  those 
songs  which  were  of  the  slowest  measure  and  least  emo- 
tional in  character  were  selected  for  the  earlier  hours  of  the 
festivals.  None  of  the  songs  was  lengthy,  even  the  longest, 
in  spite  of  the  repetitions,  rarely  lasting  over  an  hour.^ 

The  tone  in  which  the  words  were  chanted  is  described 
by  Clavigero,  Miihlenpfordt  and  other  comparatively  recent 
travelers  as  harsh,  strident  and  disagreeable  to  the  Euro- 
pean ear.  Mendieta  calls  it  a  "contra-bass,"  and  states 
that  persons  gifted  with  such  a  voice  cultivated  it  assidu- 
ously and  were  in  great"  demand.  The  Nahuas  call  it 
tozqiiitl,  the  singing  voice,  and  likened  it  to  the  notes  of 
sweet  singing  birds. 

§  6.  The  Instrumental  Accompaniment. 
The  Nahuas  were  not  acquainted  with  any  stringed  in- 
strument. They  manufactured,  however,  a  variety  of  objects 
from  which  they  could  extract  what  seemed  to  them  melo- 
dious sounds.  The  most  important  were  two  forms  of 
drums,   the  huehuetl  and  the  teponaztli. 

1  The  most  satisfactory  description  of  these  concerts  is  that  given  by 
Geronimo  de  Mendieta,  Historia  Eclesiastica  Indiana,  Lib.  II,  cap.  31. 
I  have  taken  some  particulars  from  Boturini  and  Sahagun. 


22  INTRODUCTION. 

The  word  huehuetl  means  something  old,  something 
ancient,  and  therefore  important  and  great.  The  drum 
so-called  was  a  hollow  cylinder  of  wood,  thicker  than  a 
man's  body,  and  usually  about  five  palms  in  height.  The 
end  was  covered  with  tanned  deerskin,  firmly  stretched. 
The  sides  were  often  elaborately  carved  and  tastefully 
painted.  This  drum  was  placed  upright  on  a  stand  in 
front  of  the  player  and  the  notes  were  produced  by  strik- 
ing the  parchment  with  the  tips  of  the  fingers. 

A  smaller  variety  of  this  instrument  Avas  called  flapanhne- 
huetl,  or  the  half  drum,  which  was  of  the  same  diameter 
but  only  half  the  height.'  Still  another  variety  was  the 
yopihuehuetl,  "the  drum  which  tears  out  the  heart,"-  so 
called  either  by  reason  of  its  penetrating  and  powerful 
sound,  or  because  it  was  employed  at  the  Yopico,  where 
that  form  of  human  sacrifice  was  conducted. 

The  teponaztli  was  a  cylindrical  block  of  wood  hollowed 
out  below,  and  on  its  upper  surface  with  two  longitudinal 
parallel  grooves  running  nearly  from  end  to  end,  and  a 
third  in  the  centre  at  right  angles  to  these,  something  in 
the  shape  of  the  letter  I.  The  two  tongues  left  between  the 
grooves  were  struck  with  balls  of  rubber,  /////,  on  the  ends 
of  handles  or  drum  sticks.     These  instruments  varied  greatly 

'  Literally,  "  the  broken  drum,"  from  tlapana,  to  break,  as  they  say 
tlapanhuimetzli,  half  moon.  It  is  described  by  Tezozomoc  as  "  un 
alambor  bajo."     Cronica  Mixicana,  cap.  53. 

2  From  yollotl,  heart,  and  //,  to  tear  out.  The  instrument  is  mentioned 
by  Tezozomoc,  Cronica  Mexicaua,  cap.  48.  On  the  Yopico,  and  its 
ceremonies,  see  Sahagun,  I/islon.i  di  Nuez'a  Espafla,  Lib.  II,  cap.  i,  and 
Appendix. 


THE    INSTRUMENTAL    ACCOMPANIMENT.  23 

in  size,  some  being  five  feet  in  length,  and  others  so  small 
that  they  could  conveniently  be  carried  suspended  to  the 
neck.  The  teponaztli  was  the  house  instrument  of  the 
Nahuas.  It  was  played  in  the  women's  apartments  to 
amuse  the  noble  ladies,  and  the  war  captains  carried  one 
at  the  side  to  call  the  attention  of  their  cohorts  on  the 
field  of  battle  (Sahagun).  The  word  is  derived  from  the 
name  of  the  tree  whose  wood  was  selected  to  make  the 
drum,  and  this  in  turn  from  the  verb  tcponazoa,  to  swell, 
probably  from  some  peculiarity  of  its  growth.' 

A  much  superior  instrument  to  the  teponaztli,  and  doubt- 
less a  development  from  it,  was  the  tccomapiloay  "  the  sus- 
pended vase"  {tccomatl,  gourd  or  vase,  piloa,  to  hang  or 
suspend).  It  was  a  solid  block  of  wood,  with  a  project- 
ing ridge  on  its  upper  surface  and  another  opposite,  on 
its  lower  aspect ;  to  the  latter  one  or  more  gourds  or 
vases  were  suspended,  which  increased  and  softened  the 
sound  when  the  upper  ridge  was  struck  with  the  ullip' 
This  was  undoubtedly  the  origin  of  the  marimba,  which  I 
have  described  elsewhere.^ 

1  Simeon,  however,  thinks  the  name  arose  from  the  growing  and  swell- 
ing of  the  sound  of  the  instrument  (notes  to  Jourdanet's  translation  of 
Sahagun,  p.  28).  Mr.  H.  H.  Bancroft  gives  the  astonishing  translation  of 
teponaztli,  "  wing  of  stone  vapor  !"  (^Native  Races  of  the  Pacific  States, 
Vol.  II,  p.  293.)  Brasseur  traced  the  word  to  a  Maya-Quiche  root,  tep. 
In  both  Nahuatl  and  Maya  this  syllable  is  the  radicle  of  various  words 
meaning  to  increase,  enlarge,  to  grow  strong  or  great,  etc. 

2  Sahagun,  Hist,  de  Nueva  Espafia,  Lib.  II,  cap.  27. 

3  See  The  Gtiegiience,  a  Comedy  ballet  in  the  Nahuall  Spanish  dialect 
of  Nicaragua,  Introd.,  p.  29.     (Philadelphia,  1883.) 


24  INTRODUCTION. 

The  musical  properties  of  these  drums  have  been  dis- 
cussed by  Theodor  Baker.  The  teponaztli,  he  states,  could 
yield  but  two  notes,  and  could  not  have  been  played  in 
accord  with  the  huehuetl.  It  served  as  an  imperfect 
contra-bass. ' 

Tht  omichicahuaz,  "strong  bone,"  was  constructed  some- 
what on  the  principle  of  a  teponaztli.  A  large  and  long 
bone  was  selected,  as  the  femur  of  a  man  or  deer,  and  it 
was  channeled  by  deep  longitudinal  incisions.  The  pro- 
jections left  between  the  fissures  were  rasped  with  another 
bone  or  a  shell,  and  thus  a  harsh  but  varied  sound  could 
be  produced.'^ 

The  tetzilacatl,  the  "vibrator"  or  "resounder,"  was  a 
sheet  of  copper  suspended  by  a  cord,  which  was  struck 
with  sticks  or  with  the  hand.  It  appears  to  have  been 
principally  confined  to  the  sacred  music  in  the  temples. 

The  ayacachtli  was  a  rattle  formed  of  a  jar  of  earthen- 
ware or  a  dried  gourd  containing  pebbles  which  was 
fastened  to  a  handle,  and  served  to  mark  time  in  the 
songs  and  dances.  An  extension  of  this  simple  instru- 
ment was  the  ayacachicahualiztli,  "the  arrangement  of 
rattles,"   which   was  a  thin  board  about  six  feet  long  and 

1  Theodor  Baker,  Ueber  die Musik  der  Nord-Ainerikanischen  IVilden., 
PP-  51-53-     (Leipzig,  1SS2.) 

2  Omitl,  bone,  chicahuac,  strong.  A  specimen  made  of  the  bone  of  a 
fossil  elephant  is  possessed  by  Seiior  A.  Chavero,  of  Mexico.  See  Tezo- 
zomoc,  Cronica  Mexicana,  cap.  55,  and  the  note  of  Orozco  y  Berra  to 
that  passage  in  the  Mexican  edition.  Also  Sahagun,  Hist,  de  Nueva  Es- 
paHay  Lib.  VIII,  cap.  20,  who  lii<e\vise  describes  most  of  the  instruments 
referred  to  in  this  section. 


THE    INSTRUMENTAL   ACCOMPANIMENT.  25 

a  span  wide,  to  which  were  attached  bells,  rattles  and  cylin- 
drical pieces  of  hard  wood.  Shaking  this  produced  a  jingle- 
jangle,  agreeable  to  the  native  ear.  The  Aztec  bells  of 
copper,  tzilinilli,  are  really  metallic  rattles,  like  our 
sleigh  bells.  They  are  often  seen  in  collections  of  Mexican 
antiquities.     Other  names  for  them  were  coyolli  and  yoyotli. 

Various  forms  of  flutes  and  fifes,  made  of  reeds,  of  bone 
or  of  pottery,  were  called  by  names  derived  from  the 
word  pitzaua,  to  blow  (e.g.,  tlapitzalH,  uilacapitzli),  and 
sometimes,  as  being  punctured  with  holes,  zozoloctli,  from 
zotl,  the  awl  or  instrument  used  in  perforating  skins,  etc. 
Many  of  those  made  of  earthenware  have  been  preserved, 
and  they  appear  to  have  been  a  highly-esteemed  instru- 
ment, as  Sahagun  mentions  that  the  leader  of  the  choir 
of  singers  in  the  temple  bore  the  title  tlapitzcatzin,  "the 
noble  flute  player." 

Large  conches  were  obtained  on  the  seashore  and  framed 
into  wind  instruments  called  quiquiztli  and  tecciztli,  whose 
hoarse  notes  could  be  heard  for  long  distances,  and  whistles 
of  wood,  bone  and  earthenware  added  their  shrill  notes 
to  the  noise  of  the  chanting  of  the  singers.  The  shell  of 
the  tortoise,  ayotl,  dried  and  suspended,  was  beaten  in 
unison  with  such  instruments. 

Recent  researches  by  competent  musical  experts  con- 
ducted upon  authentic  specimens  of  the  ancient  Mexican 
instruments  have  tended  to  elevate  our  opinion  of  their 
skill  in  this  art.  Mr.  H.  T.  Cresson,  of  the  Academy  of 
Natural  Sciences,  Philadelphia,  has  critically  examined  the 
various  Aztec  clay  flutes,  whistles,  etc.,  which  are  there 
preserved,  and  has  reached  the  following  conclusions: — 
c 


26  INTRODUCTION. 

"I.  That  upon  the  four-holed  clay  flageolets  the  chro- 
matic and  diatonic  scales  can  be  produced  with  a  full 
octave. 

"  II.  That  the  clay  whistles  or  pitch  pipes,  which  may 
be  manipulated  in  quartette,  will  produce  an  octave  and 
a  fourth. 

"III.  From  the  facts  above  shown,  the  Aztecs  must 
have  possessed  a  knowledge  of  the  scales  as  known  to  us, 
which  has  been  fully  tested  by  comparison  with  the  flute 
and  organ.'" 

This  result  indicates  for  the  instrumental  accompaniment 
a  much  higher  position  in  musical  notation  than  has  hitherto 
been  accepted. 

§  7.    The  Poetic  Dialect. 

All  the  old  writers  who  were  familiar  with  the  native 
songs  speak  of  their  extreme  obscurity,  and  the  difficulty 
of  translating  them.  No  one  will  question  the  intimate 
acquaintance  with  the  Nahuatl  language  possessed  by  Father 
Sahagun  ;  yet  no  one  has  expressed  more  strongly  than  he 
the  vagueness  of  the  Nahuatl  poetic  dialect.  "Our  enemy 
on  earth,"  he  writes,  "has  prepared  a  thick  woods  and 
a  dangerous  ground  full  of  pitfalls,  wherein  to  devise  his 
evil  deeds  and  to  hide  himself  from  attack,  as  do  wild 
beasts  and  venomous  serpents.  This  woods  and  these  pit- 
falls are  the  songs  which  he  has  inspired  to  be  used  in  his 
service,  as  praises  to  his  honor,  in  the  temples  and  else- 
where ;  because  they  are  composed  with  such  a  trick   that 

'  H.  T.  Cresson,  On  Aztec  Music,  in  the  Proceedings  of  the  Academy 
of  Natural  Sciences,  Philadelphia,  1883. 


THE    POETIC    DIALECT.  27 

they  proclaim  only  what  the  devil  commands,  and  are 
understood  only  by  those  to  whom  they  are  addressed. 
It  is  well  known  that  the  cavern,  woods  or  depths  in 
which  the  devil  hides  himself  were  these  chants  or  psalms 
which  he  himself  has  composed,  and  which  cannot  be 
understood  in  their  true  significance  except  by  those  who 
are  accustomed  to  the  peculiar  style  of  their  language."^ 

Not  less  positive  are  the  expressions  of  Father  Diego 
Duran,  contemporary  of  Sahagun,  and  himself  well  versed 
in  the  native  tongue.  ''All  their  songs,"  he  observes, 
"were  composed  in  such  obscure  metaphors  that  scarcely 
any  one  can  understand  them  unless  he  give  especial  atten- 
tion to  their  construction."^  The  worthy  Boturini  was  puz- 
zled by  those  which  he  had  collected,  and  writes,  "  the 
songs  are  difficult  to  explain,  because  they  mystify  his- 
torical facts  with  constant  allegorizing,"''  and  Boturini's 
literary  executor,  Don  Mariano  Echevarria  y  Veitia,  who 
paid  especial  attention  to  the  poetic  fragments  he  had  re- 
ceived, says  frankly :  "  The  fact  is,  that  as  to  the  songs  I 
have  not  found  a  person  who  can  fully  translate  them, 
because  there  are  many  words  in  them  whose  signification 
is  absolutely  unknown  to-day,  and  moreover  which  do  not 
appear  in  the  vocabularies  of  Molina  or  others."* 

The   Abbe   Clavigero   speaks   in   somewhat  more  definite 

1  Sahagun,  Historia  de  Nueva  Espana,  Lib.  II,  Appendice. 
*  Duran,  Historia  de  las  Indias  de  Nueva  Espaiia,  Tom.  I,  p.  233. 
3  Boturini,  Idea  de  una  Ntieva  Historia  General,  Appendice,  p.  95. 
■*  Echevarria,  Historia  del  Driven  de  las  Genles  de  Nueva  EspaHa,  Dis- 
curso  Preliminar. 


28  INTRODUCTION. 

terms  of  the  poetic  forms  and  licenses  of  the  language. 
He  notes  that  in  the  fragments  of  the  ancient  verses  which 
had  been  preserved  until  his  day  there  were  inserted  be- 
tween the  significant  words  certain  interjections  and  mean- 
ingless syllables,  apparently  to  fill  out  the  metre.  Never- 
theless, he  considered  the  language  of  the  chants,  "pure, 
pleasant,  brilliant,  figurative  and  replete  with  allusions  to 
the  more  pleasing  objects  in  nature,  as  flowers,  trees,  brooks, 
etc."^ 

It  is  quite  evident  from  the  above  extracts  that  in  the 
translation  of  the  ancient  songs  in  the  present  volume  we 
must  be  prepared  for  serious  difficulties,  the  more  so  as  the 
Nahuatl  language,  in  the  opinion  of  some  who  are  the 
best  acquainted  with  it,  lends  itself  with  peculiar  facility 
to  ambiguities  of  expression  and  obscure  figures  of  speech.'^ 
Students  of  American  ethnology  are  familiar  with  the  fact 
that  in  nearly  all  tribes  the  language  of  the  sacred  songs 
differs  materially  from  that  in  daily  life. 

Of  the  older  grammarians.  Father  Carochi  alone  has 
left  us  actual  specimens  of  the  ancient  poetic  dialect, 
and    his    observations    are    regretably    brief.      They    occur 

*  Clavigero,  Storia  Antica  di  Messico,  Lib.  VII,  p.  175. 

2  "  Ihre  Sprachen  sind  uberreich  an  doppelsinnigen  Ausdrucken  die  sie 
absichtlich  anwenden  um  ihre  Gedanken  zu  verbergen.  Geistliche  haben 
mir  versichert,  dass  sie  obgleich  der  Aztekischen  Sprache  vollstandig  mach- 
tig,  oft  den  wahren  Sinn  einer  Beichte  nicht  zu  verstehen  vermochten, 
weil  die  Beichtende  sich  in  rSthselhafter  und  metaphorreicher  Weise 
auszudrilcken  pflegten."  Carlos  von  Gagern,  Charakteristik  der  Indiau- 
ischen  Bevdlkerioii;  Mexico's,  p.  17  (in  the  Mit.  der  Geog.  GeselL, 
Wien.  1837). 


THE    POETIC    DIALECT.  29 

in  his  chapter  on   the  composition   of  nouns  and    read    as 
follows  :  '  — 

"The  ancient  Indians  were  chary  in  forming  compounds 
of  more  than  two  words,  while  those  of  to-day  exceed 
this  number,  especially  if  they  speak  of  sacred  things; 
although  in  their  poetic  dialect  the  ancients  were  also 
extravagant  in  this  respect,  as  the  following  examples 
show: — 

1.  TlauhquechoUaztalehualto  tonatoc. 

2.  Ayauhcogamalotonameyotimani. 

3.  Xiuhcoyolizitzilica  in  teocuitlahuehuetl. 

4.  Xiuhtlapallacuilolamoxtli  manca. 

5.  Nic  chalchiuhcozcameca  quenmach  totoma  in  nocuic. 

1.  It  is  gleaming  red  like  the  tlauhquechol  bird. 

2.  And  it  glows  like  the  rainbow. 

3.  The  silver  drum  sounds  like  bells  of  turquoise. 

4.  There  was  a  book  of  annals  written  and  painted  in 
colors. 

5.  I  see  my  song  unfolding  in  a  thousand  directions,  like  a 
string  of  precious  stones," 

1  Carochi's  translations  are  not  quite  literal.  The  following  notes  will 
explain  the  compounds  : — 

1.  Tlauitl,  red  ochre,  quechoUi,  a  bird  so  called,  aztatl,  a  heron, 
ehualtia,  reverential  of  ehua,  to  rise  up ;  hence,  "  It  (or  he)  shone 
like  a  noble  red- winged  heron  rising  in  flight." 

2.  Ayaniil,  mist ;  cofamaloti,  rainbow ;  to7iameyotl,  shining,  brightness ; 
ti,  connective ;  viani,  substantive  verb.  "  The  brightness  of  the  rain- 
bow is  there."  There  is  no  conjunction  "  and  "  ;  Father  Carochi  seems 
to  have  carelessly  taken  ayauh,  which  is   the  form  of  ayatiitl  in  com- 


30  INTRODUCTION. 

From  the  specimens  presented  in  this  volume  and  from 
the  above  extracts,  I  would  assign  the  following  pecu- 
liarities to  the  poetic  dialect  of  the  Nahuatl : — 

I.  Extreme  frequency  and  richness  of  metaphor.  Birds, 
flowers,  precious  stones  and  brilliant  objects  are  constantly 
introduced  in  a  figurative  sense,  often  to  the  point  of 
obscuring   the   meaning  of  the  sentence. 

II.  Words  are  compounded  to  a  much  greater  extent 
than    in    ordinary  prose  writing. 

III.  Both  words  and  grammatical  forms  unknown  to  the 
tongue  of  daily  life  occur.  These  may  be  archaic,  or  manu- 
factured capriciously  by  the  poet. 

IV.  Vowels  are  inordinately  lengthened  and  syllables 
reduplicated,  either  for  the  purpose  of  emphasis  or  of 
meter. 

V.  Meaningless  interjections  are  inserted  for  metrical 
effect,  while  others  are  thrown  in  and  repeated  in  order 
to  express  emotion. 

VI.  The  rhetorical  figure  known  as  aposiopesis,  where 
a  sentence  is  left  unfinished  and  in  an  interjectional  con- 
position,  for  the  conjunction  auh,  and.  Each  of  the  lines  given  is  a 
detached  fragment,  without  connection  with   the  others. 

3.  xiiiit/,  something  blue  or  green;  coyolii, htWs;  tzitzUicaliztli,  tink- 
ling.    "  The  golden  drum's  turquoise-bell-tinkling." 

4.  xiuhiic,  blue  or  green ;  tlapalli,  red ;  ctiiloa,  to  paint  or  write  ; 
amoxtli,  book  ;  manca,  imperf.  of  tnani.  "  There  was  a  book  painted 
in   red  and  green." 

5.  chahhiuhtiitl,  the  jade;  cozcatl,  a  jewel;  W(V<7/'/,  a  string ;  totoma, 
frequentative  of  toma,  to  unfold,  unwind.  "  I  unwind  my  song  like 
a  string  of  precious  jewels." 


i 


PRESERVATION    OF   THE    ANCIENT   SONGS.  31 

dition,    in   consequence  of  some  emotion  of   the   mind,   is 
not   rare  and  adds  to  the  obscurity  of  the  wording. 

§  8.    The  Preservation  of  the  Ancient  Sotigs. 

In  a  passage  already  quoted/  Sahagun  imparts  the  inter- 
esting information  that  the  more  important  songs  were 
written  down  by  the  Nahuas  in  their  books,  and  from  these 
taught  to  the  youth  in  the  schools.  A  certain  branch 
of  the  Mexican  hieroglyphic  writing  was  largely  phonetic, 
constructed  on  that  method  to  which  I  have  applied  the 
adjective  ikonomatic,  and  by  which  it  was  quite  possible  to 
preserve  the  sound  as  well  as  the  sense  of  sentences  and 
verses.^  Such  attention  could  have  been  bestowed  only  on 
the  sacred,  royal,  or  legendary  chants,  while  the  composi- 
tions of  ordinary  poets  would  only  be  disseminated  by  oral 
teaching. 

By  one  or  both  of  these  methods  there  was  a  large  body 
of  poetic  chants  the  property  of  the  Nahuatl -speaking 
tribes,  when  they  were  subjugated  by  the  Europeans.  Among 
the  intelligent  missionaries  who  devoted  their  lives  to  mas- 
tering the  language  and  translating  into  it  the  doctrines 
of  Christianity,  there  were  a  few  who  felt  sufficient  interest 
in  these  chants  to  write  some  of  them  down  in  the  orig- 
inal tongue.  Conspicuous  among  these  was  the  laborious 
Bernardino  de  Sahagun,  whose  works  are  our  most  valued 

1  See  above,  page  lo. 

2  On  the  Ikonomatic  Method  of  Phonetic  Writing,  with  special  ref- 
erence to  American  Archeology.  By  D.  G.  Brinton,  in  Proceedings  of 
the  American  Philosophical  Society,  for  October,  i886. 


32  INTRODUCTION. 

sources  of  information  on  all  that  concerns  the  life  of  the 
ancient  Nahuas.  He  collected  a  number  of  their  sacred 
hymns,  translated  them  into  Spanish,  and  inserted  them  into 
the  Appendix  to  the  Second  Book  of  his  History  of  New 
Spain  ;  but  this  portion  of  his  work  was  destroyed  by  order 
of  the  Inquisition,  as  a  note  in  the  original  MS.  expressly 
states.* 

A  certain  number,  however,  were  preserved  in  the  original 
tongue,  and,  as  already  noted,  we  find  the  able  grammarian 
Horatio  Carochi,  who  published  his  Grammar  of  the  Nahuatl 
in  1645,  quoting  lines  from  some  as  furnishing  examples  of 
the  genuine  ancient  forms  of  word-building.  He  could 
not,  tlierefore,  have  doubted  their  antiquity  and  authenticity. 

A  number  of  these  must  have  come  to  the  knowledge  and 
were  probably  in  the  possession  of  the  eminent  mathema- 
tician and  antiquary  Don  Carlos  de  Siguenza  y  Gongora, 
who  lived  m  the  latter  half  of  the  same  century  (died  1700). 
It  was  avowedly  upon  the  information  which  he  thought  he 
gleaned  from  these  ancient  chants  that  he  constructed  his 
historical  theory  of  the  missionary  labors  of  St.  Thomas 
in  Mexico  in  the  first  century  of  our  era.  The  title  of 
the  work  he  wrote  upon  this  notion  was  as  follows  : — 

"  Ft' nix  del  Occidente  San  Thomas  Apbstol,  hallado  con  el 
notnbre  de  Qiietzalcoatl  entre  las  cenizas  de  antiguas  tradiciones, 
consenuidas  en  piedras,  en  Teoamoxtles  Tidtecas,  y  en  cantarcs 
Teochichimecas  y  Mexicanos.^^ 

For  many  years  this  curious  work,  which  was  never  printed 

1  This  fact  is  mentioned  by  Lord  Kingsborough  in  his  great  work  on 
Mexico,  Vol.  VI,  p.  533. 


PRESERVATION    OF   THE    ANCIENT    SONGS.  33 

was  supposed  to  be  lost ;  but  the  original  MS.  is  extant,  in 
the  possession  of  the  distinguished  antiquary  Don  Alfredo 
Chavero,  of  the  City  of  Mexico.^  Unfortunately,  however, 
the  author  did  not  insert  in  his  work  any  song  in  the 
native  language  nor  a  literal  translation  of  any,  as  I  am 
informed  by  Senor  Chavero,  who  has  kindly  examined  the 
work  carefully  at  my  request,  with  this  inquiry  in  view. 

Half  a  century  later,  when  Boturini  was  collecting  his 
material,  he  found  but  very  few  of  the  old  poems.  In  the 
catalogue  of  his  MSS.  he  mentions  (XIX,  i)  some  fragments 
of  ancient  songs,  badly  written,  on  European  paper,  but 
he  does  not  say  whether  in  the  original  or  translated. 
The  same  doubt  might  rest  on  the  two  songs  of  Neza- 
hualcoyotl  named  in  his  Catalogue  (V,  2).  He  does  not 
specifically  state  that  they  are  in  the  original.  The  song 
of  Moquihuix,  King  of  Tlatilulco,  in  which  he  celebrated  his 
victory  over  the  Cuextla,  which  Boturini  states  in  his  text 
(p.  91)  as  in  his  possession,  is  not  mentioned  at  all  in  his 
Catalogue,  and  it  is  uncertain  whether  his  copy  was  in 
Nahuatl. 

His  literary  friend,  however,  Don  Mariano  Echevarria  y 
Veitia,  removes  the  uncertainty  about  the  two  songs  of 
Nezahualcoyotl,  as  he  informs  us  that  they  were  in  the 
original  tongue,  and  adds  that  he  had  inserted  them  in 
his  History  without  translation.'^     I  have  examined  the  man- 

^  It  is  described  in  the  Anales  del  Museo  Nacional,  Tom.  Ill,  p.  262. 

2  Echevarria's  words  are  "  los  pongo  en  su  idioma."  Hist,  del  Origen 
de  las  Gentes  que  poblaron  la  Nueva  Espafia,  Discurso  Preliminar,  in 
Kingsborough's  Mexico,  Vol.  VIII. 


34  INTRODUCTION. 

uscript  of  his  work,  now  in  the  Lenox  Library,  New  York 
City,  but  it  does  not  contain  these  texts,  and  evidently  the 
copy  used  by  Bustamente  did  not.^ 

Boturini  included  the  translations  of  the  two  odes  of 
Nezahualcoyotl  in  a  work  on  the  Virgin  of  Guadelupe,  only 
a  fragment  of  which  has  been  preserved.  One  of  the 
chapters  in  this  Latin  Essay  is  entitled  De  Indorum  Poeta- 
non  Canticis  sive  Prosodiis,  in  which  he  introduces  Ixtlil- 
xochitl's  translation  and  also  a  song  in  the  original  Nahuatl, 
but  the  latter  is  doubtless  of  late  date  and  unimportant  as 
a  really  native  production.^ 

The  fragments  of  Boturini's  library  collected  by  M.  Aubin, 
of  Paris,  contain  a  number  of  the  original  ancient  songs  of 
the  highest  importance,  which  make  us  regret  the  more  that 
this  collection  has  been  up  to  the  present  inaccessible  to 
students.  In  his  description  of  these  relics  published  in  1S51, 
^L  Aubin  refers  to  the  Historical  Annals  of  the  Mexican 
Nation  (§  VIII,  10,  of  Boturini's  Catalogue)  as  containing 
"  historical  songs  in  a  dialect  so  difficult  that  I  have  not 
been  able  to  translate  them  entirely,"  and  adds  that  sim- 
ilar songs  are  preserved  in  others  of  the  ancient  annals  in 
his  hands. ^ 


1  See  his  Tezcuco  en  los  Ultitnos  Tievipos  de  sus  Antigtios  Keyes.     Parte 
IV  (Mexico,  1826). 

2  See  the  description  of  this  fragment  of  Boturini   by  Senor  Alfredo 
Chavero  in  the  Anates  del  Museo  Nacional,  Tom.  Ill,  p.  242. 

*  M.    Aubin,  Xotice  sur  ttne    Collection  d Antiqttites  Alexicaines,  pp. 
8,  9.     (Paris,    1S51.) 


THE    LX    SONGS    OF    KING    NEZAHUALCOYOTL.       35 

§  9.    The  LX  Songs  of  the  King  Nezahualcoyotl. 

The  most  distinguished  figure  among  the  Nahuatl  poets 
was  Nezahualcoyotl,  ruler  of  .Tezcuco.  His  death  took 
place  in  1472,  at  the  age  of  eighty  years.  His  father,  Ixtlil- 
xochitl,  had  been  deprived  of  his  possessions  and  put  to 
death  by  Tezozomoc,  King  of  the  Tepanecas,  and  until  the 
death  of  the  latter  at  an  advanced  age  in  1427,  Nezahual- 
coyotl could  make  but  vain  efforts  to  restore  the  power  of 
his  family.  Much  of  the  time  he  was  in  extreme  want,  and 
for  this  reason,  and  for  his  savage  persistence  in  the  struggle, 
he  acquired  the  name  "the  fasting  or  hungry  wolf" — 
nezahual-coyotl.  Another  of  his  names  was  AcolmiztU, 
usually  translated  "arm  of  the  lion,"  from  acuUi,  shoulder, 
and  niiztii,  lion. 

A  third  was  Yoyontzin,  which  is  equivalent  to  cevetor 
nobilis,  from  yoyoma  {cevere,  i.  e.,  fetnora  mover e  in  re 
venerea)  ;  it  is  to  be  understood  figuratively  as  indicating 
the   height  of  the  masculine  forces. 

When  his  power  became  assured,  he  proved  himself  a 
liberal  and  enlightened  patron  of  the  arts  and  industries. 
The  poetry  and  music  of  his  native  land  attracted  him  the 
more  as  he  felt  within  himself  the  moving  god,  firing  his 
imagination  with  poetic  vision,  the  Deus  in  nobis,  calescinius, 
agitanfillo.  Not  only  did  he  diligently  seek  out  and 
royally  entertain  skilled  bards,  but  he  himself  had  the  credit 
of  composing  sixty  chants,  and  it  appears  that  after  the  Con- 
quest there  were  that  many  written  down  in  Roman  char- 
acters and  attributed  to  him.  We  need  not  inquire  too 
closely  whether  they  were  strictly  his  own  composition. 
Perhaps  they  were  framed  on  themes  which  he  furnished,  or 


36  INTRODUCTION. 

were  selected  by  him  from  those  sung  at  his  court  by  various 
bards.  The  history  of  the  works  by  royal  authors  every- 
where must  not  be  too  minutely  scanned  if  we  wish  to 
leave  them  their  reputation  for  originality. 

He  was  of  a  philosophic  as  well  as  a  poetic  tempera- 
ment, and  reflected  deeply  on  the  problems  of  life  and 
nature.  Following  the  inherent  tendency  of  the  enlight- 
ened intellect  to  seek  unity  in  diversity,  the  One  in  the 
Many,  he  reached  the  conclusion  to  which  so  many  think- 
ers in  all  ages  and  of  all  races  have  been  driven,  that 
underlying  all  phenomena  is  one  primal  and  adequate 
Cause,  the  Essence  of  all  Existence.  This  conclusion  he 
expressed  in  a  philosophic  apothegm  which  was  preserved 
by  his  disciples,  in  these  words: — 

]pan  in  chicunauitlamanpan  meziica  in  tloque  nahuaqice 
palne  nohuani  teyocoyani  icel  teotl  oqiiiyocox  in  ixquex  qiiex- 
quex  in  ittoni  ihuan  amo  ittoni. 

"  In  the  ninth  series  is  the  Cause  of  All,  of  us  and  of 
all  created  things,  the  one  only  God  who  created  all  things 
both  visible  and  invisible."^ 

To  perpetuate  the  memory  of  this  philosophic  deduction 
he  caused  to  be  constructed  at  Tezcuco  a  stone  tower 
nine  stories  in  height,  the  ruins  of  which  were  visible 
long  after  the  Spanish  occupation.  To  this  tower  he  gave 
the  name  Chililitli,  a  term  of  uncertain  meaning,  but  which 
we  find  was  applied  in  Tenochtitlan  to  a   building   sacred 


1  rrinted  very  incorrectly  in  Lord  Kingsborough's  edition  of  Ixtlilxo- 
chitl's  Relaciones  Ilistoricas  (Rel.  X,  Kingsborough,  Antiquities  of  Mex- 
ico, Vol.  IX,  p.  454). 


THE    LX    SONGS    OF    KING    NEZAHUALCOYOTL.      37 

to  the  Nine  Winds.'  To  explain  the  introduction  of  this 
number,  I  should  add  that  a  certain  school  of  Nahuatl 
priests  taught  that  the  heaven  above  and  the  earth  below 
were  each  divided  into  nine  concentric  arcs,  each  lead- 
ing farther  and  farther  away  from  the  conditions  of  the 
present  life.  Hence,  there  were  nine  heavens,  abodes  of 
the  gods,  and  nine  lower  regions,  abodes  of  the  souls  of 
the  dead.  Another  school  taught  that  there  were  not  nine 
but  thirteen  of  these  stages. 

The  sixty  poems  by  Nezahualcoyotl  are  mentioned  by 
various  writers  as  in  existence  after  the  Conquest,  reduced 
to  writing  in  the  original  tongue,  and  of  several  of  them 
we  have  translations  or  abstracts.'^  Of  four  the  transla- 
tions claim  to  be  complete,  and  were  published  entire  for 
the  first  time  in  the  original  Spanish  by  Lord  Kingsbor- 
ough  in  the  ninth  volume  of  his  great  work  on  the  Anti- 
quities of  Mexico.  Since  then  they  have  received  various 
renderings  in  prose  and  verse  into  different  languages  at 
the  hands  of  modern  writers. 

I  shall  give  a  literal  prose  translation  from  the  Spanish, 
numbering  the  poems  and  their  verses,  for  convenience 
of  reference,  in  the  order  in  which  they  appear  in  the 
pages  of  Lord  Kingsborough. 

1  See  Sahagun,  Historia  de  Niieva  Espana,  Lib.  II,  Appendix. 

2  Bustamente  puts  the  number  of  the  songs  of  Nezahualcoyotl  at 
eighty,  of  which  he  could  find  only  one  extant,  and  this,  as  I  understand 
his  words,  in  Spanish  only.  See  his  Tezcuco  en  los  Tiempos  de  sns  An- 
tiguous  Reyes,  p.  253  (Mexico,  1826).  When  Alexander  von  Humboldt 
visited  Mexico  he  sought  in  vain  for  any  fragment  of  the  songs  of  the 
royal  bard.      Vues  des  Cordilleres,  etc.,  Tom.  II,  p.  391. 


38  INTRODUCTION. 

The  first  is  one  referred  to,  and  partly  translated  by 
Ixtlilxochitl,  in  his  Historia  Chichimeca  (cap.  47).  He 
calls  it  a  xopancuicail  (see  ante,  p.  15),  and  states 
that  it  was  composed  and  sung  on  the  occasion  of  the 
banquet  when  the  king  laid  the  foundations  of  his  great 
palace.  He  gives  the  first  words  in  the  original  as  fol- 
lows:— 

Thixoconcagiiican  ani  Nezahuakoyotzin  ; 

And  the  translation  : — 

"  Hear  that  which  says  the  King  Nezahualcoyotl." 

Restoring  the  much  mutilated  original  to  what  I  should 
think  was  its  proper  form,  the  translation  should  read : — 

"Listen  attentively  to  what  I,  the  singer,  the  noble 
Nezahualcoyotl,  say:" — 

I. 

1.  Listen  with  attention  to  the  lamentations  which  I, 
the  King  Nezahualcoyotl,  make  upon  my  power,  speak- 
ing with   myself,   and  offering  an  example   to  others. 

2.  O  restless  and  striving  king,  when  the  time  of  thy 
death  shall  come,  thy  subjects  shall  be  destroyed  and 
driven  forth ;  they  shall  sink  into  dark  oblivion.  Then 
in  thy  hand  shall  no  longer  be  the  power  and  the  rule, 
but  with   the   Creator,   the  All-powerful. 

3.  He  who  saw  the  palaces  and  court  of  the  old  King 
Tezozomoc,  how  flourishing  and  powerful  was  his  sway, 
may  see  them  now  dry  and  withered  ;  it  seemed  as  if  they 
should  last  forever,  but  all  that  the  world  offers  is  illusion 
and  deception,  as  everything  must  end  and  die. 

4.  Sad   and   strange  it  is  to  see  and  reflect  on  the  pros- 


THE    LX    SONGS    OF    KING    NEZAHUALCOYOTL.      39 

perity  and  power  of  the  old  and  dying  King  Tezozomoc  ; 
watered  with  ambition  and  avarice,  he  grew  like  a  willow 
tree  rising  above  the  grass  and  flowers  of  spring,  rejoicing 
for  a  long  time,  until  at  length,  withered  and  decayed, 
the  storm  wind  of  death  tore  him  from  his  roots,  and 
dashed  him  in  fragments  to  the  ground.  The  same  fate 
befell  the  ancient  King  Colzatzli,  so  that  no  memory  was 
left  of  him,  nor  of  his  lineage. 

5.  In  these  lamentations  and  in  this  sad  song,  I  now 
call  to  memory  and  offer  as  an  example  that  which  takes 
place  in  the  spring,  and  the  end  which  overtook  King 
Tezozomoc  ;  and  who,  seeing  this,  can  refrain  from  tears 
and  wailing,  that  these  various  flowers  and  rich  delights 
are  bouquets  that  pass  from  hand  to  hand  and  all  wither 
and  end  even  in  the  present  life  ! 

6.  Ye  sons  of  kings  and  mighty  lords,  ponder  well  and 
think  upon  that  which  I  tell  you  in  these  my  lamenta- 
tions, of  what  takes  place  in  spring  and  of  the  end  which 
overtook  King  Tezozomoc ;  and  who,  seeing  this,  can 
refrain  from  tears  and  wailing  that  these  various  flowers 
and  rich  delights  are  bouquets  that  pass  from  hand  to  hand 
and  all  wither  and   end  even   in  the  present   life  ! 

7.  Let  the  birds  now  enjoy,  with  melodious  voices,  the 
abundance  of  the  house  of  the  flowery  spring,  and  the 
butterflies  sip  the  nectar  of  its  flowers. 


The  second  song  is  preserved  in  a  Spanish  metrical 
translation  only,  but  which  from  internal  evidence  I  should 
judge  to  be  quite  literal.     The  words  of  the  poem  do  not 


40  INTRODUCTION. 

represent  it  as  a  composition  by  the  royal  poet,  but  one 
which  was  sung  before  him,  and  addressed  to  him.  It 
admonishes  him  to  rejoice  in  the  present  moment,  as  the 
uncertainties  of  life  and  fate  must  at  some  time,  perhaps 
very  soon,   deprive   him  of  their  enjoyment. 


II. 

1.  I  wish  to  sing  for  a  moment,  since  time  and  occasion 
are  propitious;  I  hope  to  be  permitted,  as  my  intention 
merits  it,  and  I  begin  my  song,  though  it  were  better 
called  a  lamentation. 

2.  And  thou,  beloved  companion,  enjoy  the  beauty  of 
these  flowers,  rejoice  with  me,  cast  out  fears,  for  if  pleas- 
ure ends  with  life,  so  also  does  pain. 

3.  I,  singing,  will  touch  the  sonorous  instrument,  and 
thou,  rejoicing  in  the  flowers,  dance  and  give  pleasure  to 
God  the  powerful.  Let  us  be  happy  in  the  present,  for 
life  is  transitory. 

4.  Thou  hast  placed  thy  noble  court  in  Acolhuacan, 
thine  are  its  lintels,  thou  hast  decked  them,  and  one  may 
well  believe  that  with  such  grandeur  thy  state  shall  in- 
crease and  grow. 

5.  O  prudent  Yoyontzin,  famous  king  and  peerless  mon- 
arch, rejoice  in  the  present,  be  happy  in  the  springtime, 
for  a  day  shall  come  in  which  thou  shalt  vainly  seek  these 
joys. 

6.  Then  thy  destiny  shall  snatch  the  sceptre  from  thy 
hand,  thy  moon  shall  wane,  no  longer  wilt  thou  be  strong 
and  proud,  then  thy  servants  shall  be  destitute  of  all  things. 


THE    LX    SONGS    OF    KING    NEZAHUALCOYOTL.      41 

7.  In  this  sad  event,  the  nobles  of  thy  line,  the  prov- 
inces of  might,  children  of  noble  parents,  lacking  thee  as 
their  lord,  shall   taste   the    bitterness  of  poverty. 

8.  They  shall  call  to  mind  how  great  was  thy  pomp, 
thy  triumphs  and  victories,  and  bewailing  the  glory  and 
majesty  of  the  past,   their  tears  will    flow  like   seas. 

9.  These  thy  descendants  who  serve  thy  plume  and 
crown,  when  thou  art  gone,  will  forsake  Culhuacan,  and 
as   exiles  will    increase   their  woes. 

10.  Little  will  fame  have  to  tell  of  this  wondrous  maj- 
esty, worthy  of  a  thousand  heralds ;  the  nations  will  only 
remember  how  wisely  governed  the  three  chieftains  who 
held   the  power, 

11.  At  Mexico,  Montezuma  the  famous  and  valorous,  at 
Culhuacan  the  fortunate  Nezahualcoyotl,  and  at  the  strong- 
hold of  Acatlapan,  Totoquilhuatli. 

12.  I  fear  no  oblivion  for  thy  just  deeds,  standing  as 
thou  dost  in  thy  place  appointed  by  the  Supreme  Lord 
of  All,  who  governs  all   things. 

13.  Therefore,  O  Nezahualcoyotl,  rejoice  in  what  the 
present  offers,  crown  thyself  with  flowers  from  thy  gar- 
dens, hear  my  song  and  music  which  aim   to  please  thee. 

14.  The  pleasures  and  riches  of  this  life  are  but  loaned, 
their  substance  is  vain,  their  appearance  illusory ;  and  so 
true  is  this  that  I  ask  thee  for  an  answer  to  these  questions  : 

15.  What  has  become  of  Cihuapan  ?  Of  the  brave 
Quantzintecomatzin  ?  Of  Conahuatzin  ?  What  of  all  these 
people  ?  Perhaps  these  very  words  have  already  passed 
into  another  life. 

16.  Would  that  we  who  are  now  united    by  the    ties  of 

(UNIVEBSITYI 


42  INTRODUCTION. 

love  and  friendship  could  foresee  the  sharp  edge  of  death, 
for  nothing  is  certain,  and  the  future  ever  brings  changes. 

The  third  is  a  "spring  song"  in  which  the  distin- 
guished warriors  of  the  king  are  compared  to  precious 
stones.  Such  jewels  were  believed  by  the  Nahuas  to  pos- 
sess certain  mysterious  powers  as  charms  and  amulets,  a 
belief,  it  is  needless  to  say,  found  among  almost  all  nations. 
In  verse  i8  there  is  a  reference  to  the  superstition  that  at 
dawn,  when  these  jewels  are  exposed  to  the  first  rays  of 
the  sun,  they  emit  a  fine  vapor  which  wafts  abroad  their 
subtle  potency.  The  poem  is  in  Spanish  verse,  and  the 
original  is  said  to  have  been  written  down  by  Don  Fer- 
nando de  Avila,  governor  of  Tlalmanalco,  from  the  mouth 
of  Don  Juan  de  Aguilar,  governor  of  Cultepec,  a  direct 
descendant  of  Nezahualcoyotl. 


III. 

1.  The  flowery  spring  has  its  house,  its  court,  its  palace, 
adorned  with  riches,  with   goods  in  abundance. 

2.  With  discreet  art  they  are  arranged  and  placed,  rich 
feathers,  precious  stones,  surpassing   in    luster  the  sun. 

3.  There  is  the  valued  carbuncle,  which  from  its  beau- 
teous center  darts  forth  rays  which  are  the  lights  of  knowl- 
edge. 

4.  There  is  the  prized  diamond,  sign  of  strength,  shoot- 
ing forth  its  brilliant  gleams. 

5.  Here  one  sees  the  translucent  emerald  suggesting  the 
hope  of  the  rewards  of  merit. 


THE    LX    SONGS   OF    KING   NEZAHUALCOYOTL.      43 

6.  Next  follows  the  topaz,  equaling  the  emerald,  for  the 
reward  it  promises  is  a  heavenly  dwelling. 

7.  The  amethyst,  signifying  the  cares  which  a  king  has 
for  his  subjects,  and  moderation   in  desires. 

8.  These  are  what  kings,  princes   and  i-nonarchs  delight 
to  place  upon  their  breasts  and  crowns. 

9.  All   these   stones  with    their  varied  and   singular   vir- 
tues, adorn  Thy  house  and  court,  O  Father,  O  Infinite  God  ! 

10.  These  stones  which  I  the  King  Nezahualcoyotl  have 
succeeded  in  uniting  in  loving  liens, 

11.  Are  the  famous  princes,  the  one  called  Axaxacatzin, 
the  other  Chimalpopoca,   and   Xicomatzintlamata. 

12.  To-day,    somewhat   rejoiced    by  the   joy   and    words 
of  these,  and  of  the  other  lords  who  were  with  them, 

13.  I   feel,  when  alone,  that   my  soul  is  pleased  but  for 
a  brief  time,  and  that  all  pleasure  soon  passes. 

14.  The  presence  of  these  daring  eagles  pleases  me,  of 
these  lions  and  tigers  who  affright  the  world, 

15.  These  who  by  their   valor   win   everlasting   renown, 
whose  name  and  whose  deeds  fame  will  perpetuate. 

16.  Only  to-day  am   I  glad   and   look   upon   these   rich 
and  varied  stones,  the  glory  of  my  bloody  battles. 

17.  To-day,   noble  princes,   protectors  of  the  realm,  my 
will  is  to  entertain   you  and  to  praise  you. 

18.  It   seems    to    me   that   ye   answer   from    your   souls, 
like  the  fine  vapor  arising  from  precious  stones, — 

19.  "O  King  Nezahualcoyotl,  O  royal  Montezuma,  your 
subjects  sustain  themselves  with  your  soft  dews. 

20.  "  But  at  last  a  day  shall  come  which  will  cut  away 
this  power,  and  all  these  will  be  left  wretched  orphans. 


44  INTRODUCTION. 

21.  "Rejoice,  mighty  King,  in  this  lofty  power  which 
the  King  of  Heaven  has  granted  you,  rejoice  and  be 
glad. 

2  2.  "In  the  life  of  this  world  there  is  no  beginning 
anew,  therefore  rejoice,  for  all  good  ends. 

23.  "The  future  promises  endless  changes,  griefs  that 
your  subjects  will  have  to  undergo. 

24.  "Ye  see  before  you  the  instruments  decked  with 
wreaths  of  odorous  flowers ;  rejoice  in  their  fragrance. 

25.  "To-day  there  are  peace,  and  goodfellowship ;  there- 
fore let  all  join  hands  and  rejoice  in  the  dances, 

26.  "  So  that  for  a  little  while  princes  and  kings  and 
the  nobles  may  have  pleasure  in  these  precious  stones, 

27.  "Which  through  his  goodness  the  will  of  the  King 
Nezahualcoyotl  has  set  forth  for  you,  inviting  you  to-day 
to  his  house." 


The  fourth  song  has  been  preserved  in  an  Otomi  trans- 
lation by  the  Mexican  antiquary  Granados  y  Galvez,^  and 
in  an  abstract  by  Torquemada.'^  The  latter  gives  the  first 
words  as  follows:  — 

Xochitl  viaviani  in  huehuetiilan  : 

Which  he  translates: — 

"There  are  fresh  and  fragrant  flowers  among  the  groves." 

1  Tardes  Americanas,  pp.  90-94.     (Mexico,  1778.) 

2  Torquemada,  Monarquia  Indiana^  Lib.  II,  cap.  45.  The  word 
huehuetitlan,  seems  to  be  a  misprint  for  ahuehuetitlan,  from  ahuehuetl, 
with  the  ligature  //,  and  the  postposition  tlan,  literally  •'  among  the  cy- 
presses." 


THE    LX    SONGS    OF    KING    NEZAHUALCOYOTL.      45 

It  is  said  to  have  been  composed  at  the  time  the  king 
dedicated  his  palace. 

IV. 

1.  The  fleeting  pomps  of  the  world  are  like  the  green 
willow  trees,  which,  aspiring  to  permanence,  are  con- 
sumed by  a  fire,  fall  before  the  axe,  are  upturned  by  the 
wind,  or  are  scarred  and  saddened  by  age. 

2.  The  grandeurs  of  life  are  like  the  flowers  in  color  and 
in  fate  ;  the  beauty  of  these  remains  so  long  as  their  chaste 
buds  gather  and  store  the  rich  pearls  of  the  dawn  and 
saving  it,  drop  it  in  liquid  dew ;  but  scarcely  has  the 
Cause  of  All  directed  upon  them  the  full  rays  of  the  sun, 
when  their  beauty  and  glory  fail,  and  the  brilliant  gay 
colors  which  decked  forth  their  pride  wither  and  fade. 

3.  The  delicious  realms  of  flowers  count  their  dynasties 
by  short  periods ;  those  which  in  the  morning  revel  proudly 
in  beauty  and  strength,  by  evening  weep  for  the  sad  de- 
struction of  their  thrones,  and  for  the  mishaps  which  drive 
them  to  loss,  to  poverty,  to  death  and  to  the  grave.  All 
things  of  earth  have  an  end,  and  in  the  midst  of  the  most 
joyous  lives,  the  breath  falters,  they  fall,  they  sink  into  the 
ground. 

4.  All  the  earth  is  a  grave,  and  nought  escapes  it ; 
nothing  is  so  perfect  that  it  does  not  fall  and  disappear. 
The  rivers,  brooks,  fountains  and  waters  flow  on,  and 
never  return  to  their  joyous  beginnings ;  they  hasten  on 
to  the  vast  realms  of  Tlaloc,  and  the  wider  they  spread 
between  their  marges  the  more  rapidly  do  they  mould 
their  own   sepulchral  urns.     That   which   was   yesterday  is 


46  INTRODUCTION. 

not  to-day;  and  let  not  that  which  is  to-day  trust  to  live 
to-morrow. 

5.  The  caverns  of  earth  are  filled  with  pestilential  dust 
which  once  was  the  bones,  the  flesh,  the  bodies  of  great 
ones  who  sate  upon  thrones,  deciding  causes,  ruling  assem- 
blies, governing  armies,  conquering  provinces,  possessing 
treasures,  tearing  down  temples,  flattering  themselves  with 
pride,  majesty,  fortune,  praise  and  dominion.  These  glories 
have  passed  like  the  dark  smoke  thrown  out  by  the  fires 
of  Popocatepetl,  leaving  no  monuments  but  the  rude  skins 
on  which  they  are  written. 

6.  Ha !  ha !  Were  I  to  introduce  you  into  the  obscure 
bowels  of  this  temple,  and  were  to  ask  you  which  of  these 
bones  were  those  of  the  powerful  Achalchiuhtlanextin,  first 
chief  of  the  ancient  Toltecs ;  of  Necaxecmitl,  devout  wor- 
shiper of  the  gods ;  if  I  inquire  where  is  the  peerless 
beauty  of  the  glorious  empress  Xiuhtzal,  where  the  peace- 
able Topiltzin,  last  monarch  of  the  hapless  land  of  Tulan  ; 
if  I  ask  you  where  are  the  sacred  ashes  of  our  first  father 
Xolotl ;  those  of  the  bounteous  Nopal ;  those  of  the  gener- 
ous Tlotzin  ;  or  even  the  still  warm  cinders  of  my  glorious 
and  immortal,  though  unhappy  and  luckless  father  Ixtlil- 
xochitl ;  if  I  continued  thus  questioning  about  all  our 
august  ancestors,  what  would  you  reply?  The  same  that 
I  reply — I  know  not,  I  know  not ;  for  first  and  last  are 
confounded  in  the  common  clay.  What  was  their  fate 
shall  be  ours,  and  of  all  who  follow  us. 

7.  Unconquered  princes,  warlike  chieftains,  let  us  seek, 
let  us  sigh  for  the  heaven,  for  there  all  is  eternal,  and 
nothing   is  corruptible.     The  darkness  of  the  sepulchre   is 


HISTORY    OF   THE    PRESENT   COLLECTION.  47 

but  the  strengthening  couch  for  the  glorious  sun,  and  the 
obscurity  of  the  night  but  serves  to  reveal  the  brilliancy  of 
the  stars.  No  one  has  power  to  alter  these  heavenly  lights, 
for  they  serve  to  display  the  greatness  of  their  Creator, 
and  as  our  eyes  see  them  now,  so  saw  them  our  earliest 
ancestors,  and  so  shall  see  them  our  latest  posterity. 


It  will  be  seen  that  the  philosophy  of  these  songs  is 
mostly  of  the  Epicurean  and  carpe  diem  order.  The  certainty 
of  death  and  the  mutability  of  fortune,  observations  which 
press  themselves  upon  the  mind  of  man  everywhere,  are 
their  principal  staples,  and  cast  over  them  a  hue  of  mel- 
ancholy, relieved  by  exhortations  to  enjoy  to  the  utmost 
what  the  present  moment  offers  of  pleasure  and  sensual 
gratification.  Here  and  there  a  gleam  of  a  higher  phi- 
losophy lights  the  sombre  reflections  of  the  bard ;  his 
thoughts  turn  toward  the  infinite  Creator  of  this  universe, 
and  he  dimly  apprehends  that  by  making  Him  the  sub- 
ject of  his  contemplation,  there  is  boundless  consolation 
even  in  this  mortal  life. 

Both  these  leading  motifs  recur  over  and  over  again  in 
the  songs  printed  in  the  original  in  the  present  volume, 
and  this  similarity  is  a  common  token  of  the  authenticity 
of  the  book. 

§  10.    The  History  of  the  Present  Collection. 
The  most  recent  Mexican  writers  formally  deny  that  any 
ancient  Mexican  poetry  is  now  extant.     Thus  the  eminent 
antiquary,    Don   Alfredo    Chavero,  m    his   elaborate   work. 


48  INTRODUCTION. 

Mexico  a  traves  de  los  Siglos,  says,  "  the  truth  is,  we  know 
no  specimens  of  the  ancient  poetry,  and  those,  whether 
manuscript  or  printed,  which  claim  to  be  such,  date  from 
after  the  Conquest."^  In  a  similar  strain  the  grammarian 
Diario  Julio  Caballero,  writes:  "There  has  never  come 
into  our  hands  a  single  poetic  composition  in  this  lan- 
guage. It  is  said  that  the  great  King  Nezahualcoyotl  was 
a  poet  and  composed  various  songs  ;  however  that  may  be, 
the  fact  is  that  we  have  never  seen  any  such  composi- 
tions, nor  met  any  person   who   has  seen   them."'- 

It  is  important,  therefore,  to  state  the  exact  provenance 
of  the  specimens  printed  in  this  volume,  many  of  which 
I  consider  to  have  been  composed  previous  to  the  Con- 
quest, and  written  down  shortly  after  the  Nahuatl  language 
had  been  reduced  to  the  Spanish  alphabet. 

All  of  them  are  from  a  MS.  volume  in  the  library  of 
the  University  of  Mexico,  entitled  Cantares  de  los  Mexi- 
canos  y  otros  opusculos,  composed  of  various  pieces  in 
different  handwritings,  which,  from  their  appearance  and 
the  character  of  the  letter,  were  attributed  by  the  eminent 
antiquary  Don  Jose  F.  Ramirez,  to  the  sixteenth  and 
seventeenth  centuries. 

The  copy  I  have  used  is  that  made  by  the  late  Abbe 
Brasseur  (de  Bourbourg).  It  does  not  appear  to  be  com- 
plete, but  my  efforts  to  have  it  collated  with  the  original 
have  not  been  successful.  Another  copy  was  taken  by  the 
late  well-known   Mexican  scholar   Faustino    Chimalpopoca, 

1  Op.  cit.     Tom.  I,  p.  795. 

*  Gramviatica  del  Idioma  Mexicano,  p.  iSo.     (Mexico,  1880.) 


I 


HISTORY    OF   THE    PRESENT   COLLECTION.  49 

which  was  in  the  possession  of  Senor  Ramirez  and  sold  at 
the  vendue  of  his  books  in  1880.  It  is  No.  511  of  the 
catalogue. 

The  final  decision  of  the  age  of  the  poems  must  come 
from  a  careful  scrutiny  of  the  internal  evidence,  especially 
the  thoughts  they  contain  and  the  language  in  which 
they  are  expressed.  In  applying  these  tests,  it  should 
be  remembered  that  a  song  may  be  almost  wholly  ancient, 
that  is,  composed  anterior  to  the  Conquest,  and  yet  dis- 
play a  few  later  allusions  introduced  by  the  person  who 
preserved  it  in  writing,  so  as  to  remove  from  it  the  flavor 
of  heathenism.  Some  probable  instances  of  this  kind  will 
be  pointed  out  in  the  Notes. 

The  songs  are  evidently  from  different  sources  and  of 
different  epochs.  There  are  two  notes  inserted  in  the 
MS.  which  throw  some  light  on  the  origin  of  a  few  of 
the  poems.  The  first  is  in  connection  with  No.  XII.  In 
my  copy  of  the  MS,  the  title  of  this  song  is  written  twice, 
and  between  the  two  the  following  memorandum  appears 
in  Spanish  : 

''Ancient  songs  of  the  native  Otomis,  which  they  were 
accustomed  to  sing  at  their  festivals  and  marriages,  trans- 
lated into  the  Mexican  language,  the  play  and  the  spirit 
of  the  song  and  its  figures  of  speech  being  always  re- 
tained ;  as  Your  Reverence  will  understand,  they  displayed 
considerable  style  and  beauty,  better  than  I  can  express 
with  my  slight  talent ;  and  may  Your  Reverence  at  your 
convenience  approve  and  be  entertained  by  them,  as  a 
skilled  master  of  the   tongue,  as  Your  Reverence  is." 


50  INTRODUCTION. 

From  its  position  and  from  the  titles  following,  this 
note  appears  to  apply  only  to  No.  XII. 

The  second  note  is  prefixed  to  No.  XIV,  which  has  no 
title.     It  is  in  Nahnatl,  and  reads  as  follows  :  — 


i 
H 


Nican  ompehua  in  cuicatl  motenehua  melahuac  Huexotzin- 
cayotl  ic  moquichitoya  in  tlatoque  Huexotzinca  mani  me- 
catca;  yexcan  inic  tlatlamantitica,  teuccuicatl  ahno^o 
quauhcuicatl,  xochicuicatl,  icnocuicatl.  Auh  inic  motzot- 
zona  huehuetl  cencamatl  mocauhtiuh,  auh  in  occencamatl 
ipan  huetzi  yetetl  ti ;  auh  in  huel  ic  ompehua  centetl  ti ; 
auh  inic  mocuepa  quiniquac  iticpa  huehuetzi  y  huehuetl, 
zan  mocemana  in  maitl ;  auh  quiniquac  iyeinepantla  oc- 
ceppa  itenco  hualcholoa  in  huehuetl ;  tel  yehuatl  itech 
mottaz,  ynima  ynaquin  cuicani  quimati  iniuh  motzotzona; 
auh  yancuican  yenoceppa  inin  cuicatl  ychan  D.  Diego  de 
Leon,  Governador  Azcapotzalco ;  yehuatl  oquitzotzon  in 
D.  Frco  Placido  ypan  xihuitl  155 1,  ypan  in  ezcalilitzin  tl 
Jesu  Christo. 

This  may  be  freely  translated  as  follows:  — 


i 


Here  begins  a  song  called  a  plain  song  of  Huexotzinco 


HISTORY   OF   THE    PRESENT   COLLECTION.  51 

as  it  was  recited  by  the  lords  of  Huexotzinco.  These  songs 
are  divided  into  three  classes,  the  songs  of  the  nobles  or 
of  the  eagles,  the  flower  songs,  and  the  songs  of  destitu- 
tion. (Directions  follow  for  beating  the  drum  in  unison 
with  the  voices.)  This  song  was  sung  at  the  house  of 
Don  Diego  de  Leon,  Governor  of  Azcapotzalco  ;  he  who 
beat  the  drum  was  Don  Francisco  Placido ;  in  the  year  of 
the  resurrection  of  our  Lord  Jesus   Christ    155 1." 

This  assigns  beyond  doubt  the  song  in  question  to  the 
first  half  of  the  sixteenth  century,  and  we  may  therefore 
take  its  phraseology  as  a  type  of  the  Nahuatl  poetry  shortly 
after  the  Conquest.  It  is  also  stated  to  be  a  native  com- 
position, and  from  its  contents,  it  was  clearly  composed 
by  one  of  the  converts  to  the  Christian  faith. 


I 


ANCIENT 
NAHUATL  POEMS 


I.    Cuicapeuhcayotl. 

I.  Ninoyolnonotza,  campa  nicuiz  yectli,  ahuiaca 
xochitl : — Ac  nitlatlaniz  ?  Manozo  yehuatl  nictlatlani  in 
quetzal  huitzitziltin,  in  chalchiuh  huitzitzicatzin  ;  manozo 
ye  nictlatlani  in  zaquan  papalotl ;  ca  yehuantin  in  ma- 
chiz,  ommati,  campa  cueponi  in  yectli  ahuiac  xochitl,  tla 
nitlahuihuiltequi  in  nican  acxoyatzinitzcanquauhtla,  ma- 
noze  nitlahuihuiltequi  in  tlauhquecholxochiquauhtla ; 
oncan  huihuitolihui  ahuach  tonameyotoc  in  oncan 
mocehcemelquixtia ;  azo  oncan  niquimittaz  intla  one- 
chittitique ;  nocuexanco  nictemaz  ic  niquintlapaloz 
in  tepilhuan,  ic  niquimellelquixtiz  in  teteuctin. 


2.  Tlacazo  nican  nemi,  ye  nicaqui  in  ixochicuicatzin 
yuhqui  tepetl  quinnananquilia  ;  tlacazo  itlan  in  meyaquet- 
zalatl,  xiuhtotoameyalli,  oncan  mocuica,  momotla, 
mocuica ;  nananquilia  in  centzontlatolli ;  azo  quinnanan- 
quilia in  coyoltototl,  ayacachicahuacatimani,  in  nepapan 
tlazocuicani  totome.  Oncan  quiyectenehua  in  tlaltic- 
paque  hueltetozcatemique. 

3.  Nic  itoaya,  nitlaocoltzatzia ;  ma  namechellelti  y 
tlazohuane,  niman  cactimotlalique,  niman  hualtato  in 
quetzal  huitzitziltin.  Aquin  tictemohua,  cuicanitzine  ? 
Niman  niquinnanquilia  niquimilhuia  :  Campa  catqui  in 
yectli,  ahuiac  xochitl  ic  niquimellelquixtiz  in  amohuam- 
potzitzinhuan  ?  Niman  onechicacahuatzque  ca  nican 
tlatimitzittitili  ticuicani  azo  nelli  ic  tiquimellelquixtiz  in 
toquichpohuan  in  teteuctin. 

4.  Tepeitic  tonacatlalpa,  xochitlalpa  nechcalaquiqueo 
oncan  on  ahuachtotonameyotimani,  oncan  niquittacaya 
in    nepapan     tlazoahuiac     xochitl,  tlazohuelic     xochitl, 

54 


I.  Son^  at  the  Beginning. 

1.  I  am  wondering  where  I  may  gather  some  pretty, 
sweet  flowers.  Whom  shall  I  ask  ?  Suppose  that  I  ask 
the  brilliant  humming-bird,  the  emerald  trembler ;  sup- 
pose that  I  ask  the  yellow  butterfly  ;  they  will  tell  me, 
they  know,  where  bloom  the  pretty,  sweet  flowers,  whether 
I  may  gather  them  here  in  the  laurel  woods  where  dwell 
the  tzinitzcan  birds,  or  whether  I  may  gather  them  in  the 
flowery  forests  where  the  tlauquechol  lives.  There 
they  may  be  plucked  sparkling  with  dew,  there  they  come 
forth  in  perfection.  Perhaps  there  I  shall  see  them  if 
they  have  appeared  ;  I  shall  place  them  in  the  folds  of 
my  garment,  and  with  them  I  shall  greet  the  children,  I 
shall  make  glad  the  nobles. 

2.  Truly  as  I  walk  along  I  hear  the  rocks  as  it  were 
replying  to  the  sweet  songs  of  the  flowers  ;  truly  the 
glittering,  chattering  water  answers,  the  bird-green  foun- 
tain, there  it  sings,  it  dashes  forth,  it  sings  again ;  the 
mocking  bird  answers ;  perhaps  the  coyol  bird  answers, 
and  many  sweet  singing  birds  scatter  their  songs  around 
like  music.  They  bless  the  earth  pouring  out  their  sweet 
voices. 

3.  I  said,  I  cried  aloud,  may  I  not  cause  you  pain  ye 
beloved  ones,  who  are  seated  to  listen ;  may  the  brilliant 
humming-birds  come  soon.  Whom  do  we  seek,  O  noble 
poet  ?  I  ask,  I  say :  Where  are  the  pretty,  fragrant 
flowers  with  which  I  may  make  glad  you  my  noble  com- 
peers ?  Soon  they  will  sing  to  me,  "  Here  we  will  make 
thee  to  see,  thou  singer,  truly  wherewith  thou  shalt  make 
glad  the  nobles,  thy  companions." 

4.  They  led  me  within  a  valley  to  a  fertile  spot,  a 
flowery  spot,  where  the  dew  spread  out  in  glitter- 
ing splendor,  where  I  saw  various  lovely  fragrant  flowers, 


56  ANCIENT    NAHUATL    POEMS. 

ahuach  quequentoc,  ayauhcozamalotonameyotimani,  oil- 
can nechilhuia,  xixochitetequi,  in  catlehuatl  toconnequiz, 
ma  mellelquiza  in  ticuicani,  tiquinmacataciz  in  tocnihuan 
in  teteuctin  in  quellelquixtizque  in  tlalticpaque. 


5.  Auh  nicnocuecuexantia  in  nepapan  ahuiacxochitl, 
in  huel  teyolquima,  in  huel  tetlamachti,  nic  itoaya 
manozo  aca  tohuanti  hual  calaquini,  ma  cenca  miec  in 
ticmamani ;  auh  ca  tel  ye  onimatico  nitlanonotztahciz 
imixpan  in  tocnihuan  nican  mochipa  tiqualtetequizque 
in  tlazo  nepapan  ahuiac  xochitl  ihuan  ticuiquihui  in 
nepapan  yectUyancuicatl  ic  tiquimellelquixtizque  in 
tocnihuan  in  tlalticpactlaca  in  tepilhuan  quauhthya 
ocelotl. 

6.  Ca  moch  nicuitoya  in  nicuicani  ic  niquimicpac 
xochiti  in  tepilhuan  inic  niquimapan  in  can  in  mac 
niquinten ;  niman  niquehuaya  yectli  yacuicatl  ic 
netimalolo  in  tepilhuan  ixpan  in  tloque  in  nahuaque,  auh 
in  atley  y  maceuallo. 


7.  Can  quicuiz?  Can  quitlaz  in  huelic  xochitl?  Auh 
cuix  nohuan  aciz  aya  in  xochitlalpan,  in  tonacatlalpan,  in 
atley  y  macehuallo  in  nentlamati?  Intla  y  tlacohua  in 
tlalticpacca  gan  quitemacehualtica  in  tloque  in  nahuaque, 
in  tlalticpac  ;  ye  nican  ic  chocan  noyollo  noconilnami- 
quia  in  ompa  onitlachiato  y  xochitlalpana  nicuicani. 

8.  Auh  nic  itoaya  tlacazo  amo  qualcan  in  tlalticpac  ye 
nican,  tlacazo  occecni  in  huilohuayan,  in  oncan  ca  in 
netlamachtilli ;  tlezannen  in  tlalticpac  ?  tlacazo  occecni 
yoliliz  ximoayan,  ma  ompa  niauh,  ma  ompa  inhuan 
noncuicati  in  nepapan  tlazototome,  ma  ompa  nicnotla- 
machti  yectliya  xochitl  ahuiaca  xochitl,  in  teyolquima, 
in  zan  tepacca,  teahuiaca  yhuintia,  in  zan  tepacca,  ahuiaca 
yhuintia. 


ANCIENT    NAHUATL    TOEMS.  57 

lovely  odorous  flowers,  clothed  with  the  dew,  scattered 
around  in  rainbow  glory,  there  they  said  to  me,  "  Pluck 
the  flowers,  whichever  thou  wishest,  mayest  thou  the 
singer  be  glad,  and  give  them  to  thy  friends,  to  the 
nobles,  that  they  may  rejoice  on  the  earth." 

5.  So  I  gathered  in  the  folds  of  my  garment  the  vari- 
ous fragrant  flowers,  delicate  scented,  delicious,  and  I  said, 
may  some  of  our  people  enter  here,  may  very  many  of  us 
be  here ;  and  I  thought  I  should  go  forth  to  announce  to 
our  friends  that  here  all  of  us  should  rejoice  in  the  dif- 
ferent lovely,  odorous  flowers,  and  that  we  should  cull 
the  various  sweet  songs  with  which  we  might  rejoice  our 
friends  here  on  earth,  and  the  nobles  in  their  grandeur 
and  dignity. 

6.  So  I  the  singer  gathered  all  the  flowers  to  place 
them  upon  the  nobles,  to  clothe  them  and  put  them  in 
their  hands  ;  and  soon  I  lifted  my  voice  in  a  worthy  song 
glorifying  the  nobles  before  the  face  of  the  Cause  of  All, 
where  there  is  no  servitude. 

7.  Where  shall  one  pluck  them  ?  Where  gather  the 
sweet  flowers  ?  And  how  shall  I  attain  that  flowery  land, 
that  fertile  land,  where  there  is  no  servitude,  nor  affliction  ? 
If  one  purchases  it  here  on  earth,  it  is  only  through  sub- 
mission to  the  Cause  of  All ;  here  on  earth  grief  fills 
my  soul  as  I  recall  where  I  the  singer  saw  the  flowery 
spot. 

8.  And  I  said,  truly  there  is  no  good  spot  here  on 
earth,  truly  in  some  other  bourne  there  is  gladness  ;  For 
what  good  is  this  earth  ?  Truly  there  is  another  life  in 
the  hereafter.  There  may  I  go,  there  the  sweet  birds 
sing,  there  may  I  learn  to  know  those  good  flowers,  those 
sweet  flowers,  those  delicious  ones,  which  alone  pleasur- 
ably,  sweetly  intoxicate,  which  alone  pleasurably,  sweetly 
intoxicate. 


58  ANCIENT    NAHUATL    POEMS. 

II.   Xopancuicatl,  otoiictiicatl,  tlamelauhcayotl. 

1.  Onihualcalac  nicuicani  nepapan  xochitlalpan,  huel 
teellelquixtican,  tetlamachtican,  oncan  ahuacli  tonam- 
eyoquiauhtimani,  oncan  cuicuica  in  nepapan  tlazototome, 
on  cuicatlaza  in  coyoltototl  cahuantimani  inin  tozquitzin 
in  quellelquixtia  in  tloque  in  nahuaque  yehuan  Dios, 
ohuaya,  ohuaya. 

2.  Oncan  nicaqui  in  cuicanelhuayotl  in.  nicuicani, 
tlacazo  amo  tlalticpac  in  peuh  yectli  yancuicatl,  tlacazo 
ompa  in  ilhuicatl  itic  hual  caquizti  in  conehua  in 
tlazocoyoltototl  in  quimehuilia  in  nepapan  teoquecholme 
zacuantototl,  oncan  tlacazo  quiyectenehua  in  tloque  in 
nahuaque,  ohuaya,  ohuaya. 


3.  Niyolpoxahua  in  nicaquia  ni  cuicani,  acoquiza  in 
notlalnamiquilizo  quin  pepetlatiquiza  in  ilhuicame,  nel- 
cicihuiliz  ehecayotiuh  in  iquinalquixtia  in  ompa 
ontlatenehua  in  zacuanhuitzitzil  in  ilhuicatl  itic,  ohuaya, 
ohuaya, 

4.  Auh  nohuiampa  nictlachialtia  in  noyollo  auh  tlacazo 
nelli  in  amo  ixquich  quehua  in  tlazotototl,  tlacazo  ye  oc 
tlapanahuia  in  ilhuicatl  itic  yyollo  in  tloque  in  nahuaque 
mochiuhtica,  ca  intlacamo  teuhyotiuh  in  notlalnamiquiliz 
azo  huclquinalquixtica  ittazo  in  tlamahuizolli  in  ilhuicac 
ic  papaqui  in  ilhuicac  tlazototome  ixpan  in  tloque 
nahuaque,  ohuaya,  ohuaya. 

5.  Quenin  ah  nichocaz  in  tlalticpac  ?  ye  nican  tlacazo 
onca  nemoa)'a  ninoztlacahuia,  nicitoa  aqo  zan  ye  ixquich 
in  nican  in  tlalticpac  ontlamian  toyolia,  macuele  ehuatl  in 
tloque  in  nahuaque,  ma  ompa  inhuan  nimitznocuicatili  in 
ilhuicac  mochanecahuan  ca  noyollo  ehua  ompa  nontlac- 
hia  in  monahuac  in  motloc  tipalnemohua,  ohuaya, 
ohuaya. 


ANCIENT    NAHUATL    POEMS.  59 

II.  A  Spring  Song,  an  Otonii  Song,  a  Plain  Song. 

1.  I,  the  singer,  have  entered  many  flower  gardens, 
places  of  pleasaunce,  favored  spots,  where  the  dew  spread 
out  its  ghttering  surface,  where  sang  various  lovely  birds, 
where  the  co}'ol  birds  let  fall  their  song,  and  spreading 
far  around,  their  voices  rejoiced  the  Cause  of  All,  He 
who  is  God,  ohuaya  !  ohuaya! 

2.  It  is  there  that  I  the  singer  hear  the  very  essence  of 
song ;  certainly  not  on  earth  has  true  poesy  its  birth ; 
certainly  it  is  within  the  heavens  that  one  hears  the  lovely 
coyol  bird  lift  its  voice,  that  the  various  quechol  and 
zacuan  birds  speak  together,  there  they  certainly  praise 
the  Cause  of  All,  ohuaya  !  ohuaya  ! 

3.  I,  the  singer,  labor  in  spirit  with  what  I  heard,  that 
it  may  lift  up  my  memory,  that  it  may  go  forth  to  those 
shining  heavens,  that  my  sighs  may  be  borne  on  the 
wind  and  be  permitted  to  enter  where  the  yellow  hum- 
ming bird  chants  its  praises  in  the  heavens,  ohuaya ! 
ohuaya ! 

4.  And  as  in  my  thoughts  I  gaze  around,  truly  no  such 
sweet  bird  lifts  its  voice,  truly  the  things  made  for  the 
heavens  by  the  Cause  of  All  surpass  all  others,  and  un- 
less my  memory  tends  to  things  divine  scarcely  will  it  be 
possible  to  penetrate  these  and  witness  the  wondrous 
sights  in  heaven,  which  rejoice  the  sweet  heavenly  birds 
before  the  face  of  the  Cause  of  All. 


lived  here  in  vain  illusion  ;  I  say  that  whatever  is  here 
on  earth  must  end  with  our  lives.  May  I  be  permitted 
to  sing  to  thee,  the  Cause  of  All,  there  in  the  heaven,  a 
dweller  in  thy  mansion,  there  may  my  soul  lift  its  voice 
and  be  seen  with  Thee  and  near  Thee,  Thou  by  whom 
we  live,  ohuaya  !  ohuaya  ! 


60  ANCIENT    NAHUATL    POEMS. 


6.  Ma  xicaquin  nocuic  in  tinocniuh  xochihuehuetl  inic 
tzotzonaya  ilhuicacuicatl  in  nicehuaya,  ic  niquimellel- 
quixtia  in  teteucti,  xochicueponi  in  noyollo  izqui  xochitl 
nictzetzelohuaya  ic  malitiuh  in  no  cuicatzin  ixpan  in 
tloque  in  nahuaque,  ohuaya,  ohuaya. 


III.    Occe  al  mismo  tono  tlamelaiihcayotl. 

I.  Xochicalco  nihualcalaquia  in  nicuicani,  oncan  icac 
in  chalchiuhuehuetl,  oncan  chialon  ipalnemohuani  in 
teteuctin  xochitl  tzetzeliuhtimani,  tolquatectitla,  xoya- 
caltitlan,  onahuiaxtimani  in  xochicopal  tlenamactli  huel 
teyolquima,  cahuia  ca  ihuintia  in  toyollo  ixpan  in  tloque 
in  nahuaque. 


2.  Ic  motoma  tocuic  xochiahuia  ca  ihuinti  in  toyollo? 
Aoc  ticmati  inic  nepapan  xochicuicatl  ic  ticcecemeltia  in 
tloque  nahuaque  quen  ahtontlaelehuian  ;  tinocniuh  ma 
nohuehuetitlan  ximoquetzaya  nepapan  xochitl  ic  ximo- 
panaya  chalchiuh  ocoxochitl  mocpac  xicmanaya  xicehua- 
yan  yectli  yancuicatl  ic  melelquixtia  in  tloque  in  na- 
huaque. 

3.  Tleymach  tiquilnamiquia  can  mach  in  nemian 
moyollo  ic  timoyol  cecenmanaya  ahuicpa  tichuica 
timoyol  popoloaya  in  tlalticpac  ?  Ca  mach  titlatiuh 
xihualmocuepaya  xiccaquin  yectli  yancuicatl  ximoyol- 
ciahuaya  xochiaticaya  onahuiaxtimani  oncan  nicehuaya 
in  yectli  yancuicatl  nicuicani  ic  nicellclquixtia  in  tloque 
in  nahuaque. 

4.  Xihuallachian  tinocniuh  in  oncan  icayan  xochi- 
huehuetl tonameyo  ontotonauhtimani  quetzal  ecacehuaz- 


ANCIENT    NAHUATL    POEMS.  61 

6.  List  to  my  song,  thou  my  friend,  and  to  the  flower- 
decked  drum  which  kept  time  to  the  heavenly  song 
which  I  sang,  that  I  might  make  glad  the  nobles,  raining 
down  before  them  the  flowery  thoughts  of  my  heart  as 
though  they  were  flowers,  that  my  noble  song  might 
grow  in  glory  before  the  face  of  the  Cause  of  All,  ohu- 
aya  !  oh u ay a  ! 


III.  Another  Plain  Song,  to  the  Same   Ttine. 

1.  I,  the  singer,  entered  into  the  house  strewn  with 
flowers,  where  stood  upright  the  emerald  drum,  where 
awaiting  the  Giver  of  Life  the  nobles  strewed  flowers 
around,  the  place  where  the  head  is  bowed  for  lustration, 
the  house  of  corrupt  odors,  where  the  burning  fragrant 
incense  spreads  and  penetrates,  intoxicating  our  souls  in 
the  presence  of  the  Cause  of  All. 

2.  Where  shall  we  obtain  the  fragrance  which  intoxi- 
cates our  souls  ?  We  do  not  yet  know  the  various  flower- 
songs  with  which  we  may  rejoice  the  Cause  of  All,  how- 
ever desirous  we  are  ;  thou  my  friend,  would  that  thou 
bring  to  my  instrument  various  flowers,  that  thou 
shouldst  clothe  it  in  brilliant  oco  flowers,  that  thou 
shouldst  offer  them,  and  lift  thy  voice  in  a  new  and  worthy 
song  to  rejoice  the  Cause  of  All. 

3.  Wherefore  should  we  recall  while  the  soul  is  in  life 
that  our  souls  must  be  scattered  hither  and  thither,  and 
that  wherever  we  go  we  are  to  be  destroyed  on  earth  ? 
Rather  let  us  hide  it,  turn  from  it,  and  listen  to  some 
worthy  new  song ;  delight  thy  soul  with  the  pervading 
fragrance  of  flowers,  as  I  the  singer  lift  my  voice  in  a  new 
song  that  I  may  rejoice  the  Cause  of  All. 

4.  Come  hither,  thou  my  friend,  to  where  stands  the 
drum,  decked  with  flowers,  gleaming   with   brightness. 


62  ANCIENT   NAHUATL    POEMS. 

ticaya  on  xopaleuhtimani  in  oncan  ic  chialo  ic  malhuilo 
inipetl  in  icpal  in  tloque  in  nahuaque  ;  xic  cahuaya  in 
mixtecomatla  xihualmocuepaya  tohuan,  xic  ehua  in 
yancuicatl  nicuicani  ic  niquellelquixtia  in  tloque  in  tla- 
neciz  inic  moyoUo  caltitlan. 


5.  Tlegannen  in  nicyocoya  in  nitlaocolcuica  inic 
niquimilnamiqui  in  tepilhuan,  in  tlazomaquiztin,  in 
tlazoteoxiuhme,  in  quetzaltotome,  in  moteyotico,  in 
motleyotico  in  tlalticpac?  in  ocnoma  caquizti  inin  tenyo, 
inin  cahuanca,  campa  neltiazque  ?  Ca  zan  titlacatico  ca 
ompa  huel  tochan  in  canin  ximoayan  inocapa  in  yolihu- 
ayan  aic  tlamian. 


I 


ANCIENT   NAHUATL   POEMS.  63 

green  with  the  outspread  plumes  of  the  quetzal  bird, 
where  are  looked  for  and  cared  for  the  seats  near  the 
Cause  of  All ;  leave  the  place  of  night  and  clouds,  turn 
hither  with  us,  lift  thy  voice  in  the  new  song  I  sing  so 
that  I  may  rejoice  the  Cause  of  All,  as  the  dawn  ap- 
proaches in  the  house  of  thy  heart. 

5.  Of  what  use  is  it  that  I  frame  my  sad  songs,  that  I 
recall  to  mind  the  youths,  the  beloved  children,  the 
precious  relatives,  the  dear  friends,  famous  and  celebrated 
as  they  were  on  earth  ?  Who  now  hears  their  fame, 
their  deeds  ?  Where  can  they  find  them  ?  All  of  us  are 
but  mortal,  and  our  home  is  there  in  the  Hereafter,  where 
there  is  life  without  end. 


64  ANCIENT    NAHUATL    POEMS. 

IV.  Mcxica  otoncuicatl. 

I.  Nicchalchiuhtonameyopetlahuaya,  nictzinitzcanihui- 
caloaya,  niquilnamiquia  nelhuayocuicatla,  nic  zacuan- 
huipanaya  yectli  yancuicatl  nicuicani,  nicchalchiuhtlazo- 
nenelo  ic  nichualnextia  in  xochicueponallotl  ic  nicellel- 
quixtia  in  tloque  in  nahuaque. 


2.  Zacuantlazoihuiticaya  tzinitzcan  tlauquechol  ic 
nicyaimatia,  nocuicatzin  teocuitlatzitzilini  nocuic  nitoz ; 
miahuatototl  nocuica  cahuantimania,  nicehuaya  xochitzet- 
zelolpa  ixpan  in  tloque  nahuaque. 


3.  Qualli  cuicanelhuayotlo,  teocuitlaquiquizcopa  nic- 
ehuaya, ilhuicac  cuicatlo  nictenquixtia,  nitoz  miahuato- 
totl, chalciuhtonameyotica,  niccueponaltia  yectli  yancui- 
catlo,  nicehuaya  xochitlenamaquilizticaya  ic  nitlaahuialia 
nicuicani  ixpan  in  tloque  nahuaque. 


4.  Teoquecholme  nechnananquilia  in  nicuicani  coyoli- 
cahuacaya  yectli  yacuicatlan,  cozcapetlaticaya  chachal- 
chiuhquetzalitztonameyo  xopaleuhtimania  xopan  xochi- 
cuiatl  onilhuica  ahuiaxtimanio,  xochiahuachtitlan  nihual- 
cuicaya  nicuicani. 

5.  Nictlapalimatia  nicxoxochineloaya  yectli  yancui- 
catlan  cozcapetlaticaya,  etc. 

6.  Nocontimaloaya  nocontlamachtiao  xochiteyolquima 
cuicatlan  poyomapoctli  ic  ye  ahuian  ye  noyollo,  nihual- 
yolcuecuechahuaya,  nicinecuia  ahuiaca,  xocomiqui  in 
noyolia,  nicinecuia  yectliya  xochitla  netlamachtiloyan, 
xochi  ye  ihuinti  noyolia. 


ANCIENT    NAHUATL    POEMS.  65 

IV.  A?i  Otomi  Song  of  the  Mexicans. 

1.  I,  the  sinfrer,  polished  my  noble  new  song  like  a 
shining  emerald,  I  arranged  it  like  the  voice  of  the  tzinitz- 
can  bird,  I  called  to  mind  the  essence  of  poetry,  I  set  it  in 
order  like  the  chant  of  the  zacuan  bird.  I  mingled  it  with 
the  beaut}^  of  the  emerald,  that  I  might  make  it  appear 
like  a  rose  bursting  its  bud,  so  that  I  might  rejoice  the 
Cause  of  All. 

2.  I  skillfully  arranged  my  song  like  the  lovely  feathers 
of  the  zacuan  bird,  the  tzinitzcan  and  the  quechol ;  I 
shall  speak  forth  my  song  like  the  tinkling  of  golden 
bells  ;  my  song  is  that  which  the  miaua  bird  pours 
forth  around  him  ;  I  lifted  my  voice  and  rained  down 
flowers  of  speech  before  the  face  of  the  Cause  of  All. 

3.  In  the  true  spirit  of  song  I  lifted  my  voice  through 
a  trumpet  of  gold,  I  let  fall  from  my  lips  a  celestial  song, 
I  shall  speak  notes  precious  and  brilliant  as  those  of  the 
miaua  bird,  I  shall  cause  to  blossom  out  a  noble  new 
song,  I  lifted  my  voice  like  the  burning  incense  of  flow- 
ers, so  that  I  the  singer  might  cause  joy  before  the  face 
of  the  Cause  of  All. 

4.  The  divine  quechol  bird  answers  me  as  I,  the  singer, 
sing,  like  the  coyol  bird,  a  noble  new  song,  polished  like 
a  jewel,  a  turquoise,  a  shining  emerald,  darting  green 
rays,  a  flower  song  of  spring,  spreading  celestial  fragrance, 
fresh  with  the  dews  of  roses,  thus  have  I  the  poet  sung. 

5.  I  colored  with  skill,  I  mingled  choice  roses  in  a 
noble  new  song,  polished  like  a  jewel,  etc.  (as  in  v.  4). 

6.  I  was  glorified,  I  was  enriched,  by  the  flower-sweet 
song  as  by  the  smoke  of  the  poyomatl,  my  soul  was  con- 
tented, I  trembled  in  spirit,  I  inhaled  the  sweetness,  my 
soul  was  intoxicated,  I  inhaled  the  fragrance  of  delicious 
flowers  in  the  place  of  riches,  my  soul  was  drunken  with 
the  flowers. 


66  ANCIENT   NAHUATL    POEMS. 


V.    Otro  Mexica  tlamelaiLhcaciucayotl. 

1.  Zanio  in  xochitl  tonequimilol,  zanio  in  cuicatl  ic 
huehuetzi  in  tellel  in  Dios  ye  mochan. 

2.  In  mach  noca  ompolihuiz  in  cohuayotl  mach  noca 
in  icniuhyotl  in  ononoya  in  ye  ichan ;  ye  nio  loyontzin 
on  cuicatillano  ye  ipalnemohuani. 


3.  Ma  xiuhquechol  xochi,  zan  in  tzinitzcan  malintoca 
zan  miqui  huaqui  xochitl  zan  ic  tonmoquimiloa  can 
titlatoani  ya  ti  Nezahualcoyotl. 

4.  Ma  yan  moyoliuh  quimati  in  antepilhuan  in  anquau- 
htin  amo  celo  ca  mochipan  titocnihuan,  zancuel  achic 
nican  timochitonyazque  o  ye  ichano. 

5.  Ca  ye  ompolihuiz  in  moteyo  Nopiltzin,  ti  Tezozo- 
moctli  aca  ca  ye  in  mocuica  ?>  aye  a  nihualchocao  ca 
nihualicnotlamatica  notia  ye  ichan. 

6.  An  ca  nihuallaocoya  onicnotlamati  ayo  quico,  ayoc 
quemanian,  namech  aitlaquiuh  in  tlalticpac  y  icanontia  ye 
ichan. 


ANCIENT    NAHUATL    POEMS.  67 


V.  Another  Plain  So7ig  of  the  Mexicans. 

1.  I  alone  will  clothe  thee  with  flowers,  mine  alone  is 
the  song  which  casts  down  our  grief  before  God  in  thy 
house. 

2.  True  it  is  that  my  possessions  shall  perish,  my 
friendships,  their  home  and  their  house;  thus  I,  O 
Yoyontzin,  pour  forth  songs  to  the  Giver  of  Life. 

3.  Let  the  green  quechol  birds,  let  the  tzinitzcan  twine 
flowers  for  us,  only  dying  and  withered  flowers,  that  we  may 
clothe  thee  with  flowers,  thou  ruler,  thou  Nezahual- 
coyotl. 

4.  Ye  youths  and  ye  braves,  skilled  in  wisdom,  may 
you  alone  be  our  friends,  while  for  a  moment  here  we 
shall  enjoy  this  house. 

5.  For  thy  fame  shall  perish,  Nopiltzin,  and  thou, 
Tezozomoc,  where  are  thy  songs?  No  more^  do  I  cry 
aloud,  but  rest  tranquil  that  ye  have  gone  to  your  homes. 

6.  Ye  whom  I  bewailed,  I  know  nevermore,  never 
again  ;  I  am  sad  here  on  earth  that  ye  have  gone  to  your 
homes. 


68  ANCIENT   NAHUATL    POEMS. 


VI.    Otro  cJialcayotl,  canto  de  Tetlepan  Qtietzanit- 
zin. 

1.  Aua  nocnihue  ninentlamatia  zan  ninochoquilia  in 
monahuac  aya  yehuan  Dios,  quexquich  onmitzicnotla- 
machtia  momacehual  cemamanahuac  ontonitlanililo  in  ic 
tontlahuica  tontecemilhuitiltia  in  tlalticpac. 

2.  Macazo  tleon  xoconyoyocoya  ti  noyollo,  yehua  cuix 
ic  nepohualoyan  in  oncan  nemohua  yehua,  in  atle  tlahuelli 
in  antecocolia  huel  on  yecnemiz  in  tlalticpac. 

3.  In  quimati  noyollo  nichoca  yehua  huel  eza  ye  nelli 
in  titicnihuan,  huellenelli  nemoa  in  tlalticpac  in  tonicniuh 
tlatzihuiz  yehuan  Dios. 


4.  Xontlachayan  huitztlampayan,  iquizayan  in  tonatiuh, 
ximoyollehuayan  oncan  manian  teoatl  tlachinolli,  oncan 
mocuica  in  teucyotl  in  tlatocayotl  yectliya  xochitl  in  amo 
zannen  mocuia,  in  quetzallalpilo  niaya  macquauhtica, 
chimaltica  neicaloloyan  in  tlalticpac  ic  momacehuaya  in 
yectliya  xochitl  in  tiquelehuia  in  ticnequia  in  tinocniuh  in 
quitemacehualtia  in  quitenemactia  in  tloque  in  nahuaque. 


5.  Nentiquelehuia  in  tictemoaya  in  tinocniuh  yectliya 
xochitl  can  ticuiz  intlacamo  ximicaliya,  melchiquiuhticaya, 
mitonaltica)'a  ticmacchuaya  in  yectliyaxochitla,  yaocho- 
quiztli  ixayoticaya  in  quitemacehualtica  in  tloque  in  na- 
huaque. 


ANCIENT    NAHUATL    POEMS.  69 


VI.  Another   Chalco-sono-,  a  Poe7n  of  Tetlepan 
Quetzanitzin. 

1.  Alas,  my  friend,  I  was  afflicted,  I  cried  aloud  on  thy 
account  to  God.  How  much  compassion  hast  thou  for 
thy  servant  in  this  world  sent  here  by  thee  to  be  thy  sub- 
ject for  the  space  of  a  day  on  this  earth ! 

2.  However  that  may  be,  mayst  thou  so  dispose  my 
heart,  that  it  may  pass  through  this  place  of  reckoning, 
without  anger,  without  injury,  and  live  a  good  life  on 
earth. 

3.  My  heart  knows  how  truly  I  weep  for  my  friend, 
how  truly  as  it  lives  on  earth  it  cries  aloud  for  thee,  my 
friend,  to  God, 

4.  Let  thy  soul  awake  and  turn  toward  the  south, 
toward  the  rising  of  the  sun,  rouse  thy  heart  that  it  turn 
toward  the  field  of  battle,  there  let  it  win  power  and  fame, 
the  noble  flowers  which  it  will  not  grasp  in  vain  ;  adorned 
with  a  frontlet  of  quetzal  feathers  I  went  forth  armed 
with  sword  and  shield  to  the  battlefield  on  earth,  that  I 
might  merit  these  noble  flowers  with  which  we  may  re- 
joice as  we  wish  our  friends,  as  the  Cause  of  All  may 
reward  and  grant  to  us. 

5.  Vainly,  O  friends,  do  we  desire  and  seek  where  we 
may  cull  those  noble  flowers  unless  we  fight  with  bared 
breasts,  with  the  sweat  of  the  brow,  meriting  these  noble 
flowers,  in  bitter  and  painful  war,  for  which  the  Cause  of 
All  will  eive  reward. 


70  ANCIENT    NAHUATL    POEMS. 

\'II.    Otro. 

I.  Tleinmach  oamaxque  on  in  antocnihuan  in  an  Chia- 
paneca  Otomi,  omachamelelacic :  in  ic  oamihuintiqueo 
octicatl  in  oanquique  ic  oamihuintique,  xicualcuican,  in 
amo  ma  in  anhuehuetztoqueo,  ximozcalicano  in  antocni- 
huan nipatiazque  in  tochano,  xopantlalpan  ye  nican,  ma 
quiza  in  amihuintiliz,  on  xitlachiacano  ohuican  ye  anma- 
quia,  O ! 


2.  Ca  yeppa  yuhqui  in  tizaoctli  in  tlalticpac,  quitema- 
cao  ohuican  ic  tecalaquiao  teoatl  tlachinolH  quitoao  texaxa- 
matzao  teopopoloao  on  canin  xaxamanio  in  tlazochalchi- 
hiuitl,  in  teoxihuitl,  in  maquizth  tlazotetl  in  tepilhuan  in 
coninio  in  xochitizaoctHo  cuel  can  in  antocnihuan  in  toni- 
cahuacao. 


3.  Ma  ye  ticiti  in  xochitlalpan  in  tochan  xochitlalticpac- 
ilhuicacpaco  in  huel  ic  xochiamemeyallotl  on  ahuiaxti- 
mani,  teyolquima  yohhz  ahuach  xochitl  in  tochan  in 
Chiappan,  oncan  timalolo  in  teucyotl  in  tlatocayotl  in 
chimalxochitl  oncuepontimani  tonacatlalpan. 


4.  Quemach  in  amo  antlacaquio  in  antocnihuan  to- 
huian  tohuiano  xicahuacano,  in  tizaoctHo  teoatlachino- 
loctli ;  ma  ye  ticiti  in  ompa  tinectilo  in  tochan  xochiahu- 
achoctH,  zan  ic  ahuiaca  ihuinti  in  toyollo,  tetlamachtio 
tcyolquimao  tixochiachichinatihui  netlamachtiloyan  in 
toquizayan  xochitlalpan  tonacatlalpan  :  tlemach  oamax- 
queo?  xichualcaquican  in  tocuic  in  tamocnihuan,  etc. 


ANCIENT    NAHUATL    POEMS.  71 

VII.  Another. 

1.  What  have  you  done,  O  you  our  friends,  you  Chia- 
panecs  and  Otomis,  why  have  you  grieved,  that  you 
were  drunken  with  the  wine  which  you  took,  that 
you  were  drunken  ?  Come  hither  and  sing ;  do  not 
lie  stretched  out ;  arise,  O  friends,  let  us  go  to  our 
houses  here  in  this  land  of  spring  ;  come  forth  from  your 
drunkenness,  see  in  what  a  difficult  place  you  must 
take  it. 

2.  For  formerly  it  was  so  on  earth  that  the  white  wine 
was  taken  in  difficult  places,  as  on  entering  the  battlefield, 
or,  as  it  was  said,  where  the  stones  were  broken  and  de- 
stroyed, where  were  broken  into  fragments  the  lovely 
emeralds,  the  turquoises,  the  honored  precious  stones,  the 
youths,  the  children  ;  therefore  take  the  flowery  white 
wine,  O  friends  and  brothers. 

3.  Let  us  drink  it  in  the  flowery  land,  in  our  dwelling 
surrounded  by  the  flowery  earth  and  sky,  where  the 
fountains  of  the  flowers  send  their  sweetness  abroad  ;  the 
delicious  breath  of  the  dewy  flowers  is  in  our  homes  in 
Chiapas  ;  there  nobility  and  power  make  them  glorious, 
and  the  war-flowers  bloom  over  a  fertile  land. 

4.  Is  it  possible,  oh  friends,  that  you  do  not'  hear  us  ? 
Let  us  go,  let  us  go,  let  us  pour  forth  the  white  wine, 
the  wine  of  battle  ;  let  us  drink  where  the  wine  sweet  as 
the  dew  of  roses  is  set  forth  in  our  houses,  let  our  souls 
be  intoxicated  with  its  sweetness ;  enriched,  steeped  in 
delight,  we  shall  soak  up  the  water  of  the  flowers  in  the 
place  of  riches,  going  forth  to  a  land  of  flowers,  a  fertile 
spot.  What  have  you  done  ?  Come  hither  and  listen  to 
our  songs,  O  friends. 


72  ANCIENT    NAHUATL    POEMS. 


VIII.    Ot7'0,  Queuh  ce  tlatohuani  in  quimilnaviiqid 
in  tlatoque. 

I,  Tlaocolxochi  ixayoticaya  ic  nichuipana  in  nocuic 
nicuicani,  niquimilnamiqui  in  tepilhuan,  in  teintoque,  in 
tlagotitoque  in  campa  in  ximohuaya,  in  oteuctico,  in 
otlatocatico  in  tlallia  icpac,  in  quetzalhuahuaciuhtoque  in 
chalchiuhteintoque  in  tepilhuan,  in  maoc  imixpan  in 
maoc  oquitlani ;  in  ye  itto  in  tlalticpac  iximachoca  in 
tloque  in  nahuaque. 


2.  Y  yo  ya  hue  nitlaocolcuicaya  in  niquimilnamiqui  in 
tepilhuan,  ma  zan  itla  ninocuepa,  ma  niquimonana,  ma 
niquinhualquixti  in  ompa  in  ximoayan,  ma  oc  oppa 
tihua  in  tlalticpac,  ma  oc  quimahuizoqui  in  tepilhuan  in 
ticmahuizoa,  azo  huel  yehuantin  tlatlazomahuizozquia  in 
ipalnemohualoni,  quemmach  tomazehual  in  tlazaniuh 
ticmatican  in  ticnopillahueliloque  ic  choca  in  noyollo 
nino  tlalnamiquiliz  huipana  in  nicuicani  choquiztica 
tlaocoltica  nitlalnamiquia. 


3.  Manozo  zan  nicmati  in  nechcaquizque  intla  itla  yectli 
cuicatl  niquimehuili  in  ompa  ximohuayan,  ma  ic  niqui- 
papacti,  ma  ic  niquimacotlaza  inin  tonez  inin  chichina- 
quiliz  in  tepilhuan.  Cuix  on  machiaz  ?  Quennel  nihu- 
alnellaquahua  ?  Aquen  manian  ompa  niquimontocaz  ? 
Ano  niquin  nonotztaciz  in  ye  yuh  quin  in  tlalticpac. 


ANCIENT    NAHUATL    POEMS.  73 


VIII.   Composed  by  a  Certain  R2iler  in  Memory  of 
Former  Rulers. 

1.  Weeping,  I,  the  singer,  weave  my  song  of 
flowers  of  sadness  ;  I  call  to  memory  the  youths,  the 
shards,  the  fragments,  gone  to  the  land  of  the  dead ; 
once  noble  and  powerful  here  on  earth,  the  youths 
were  dried  up  like  feathers,  were  split  into  fragments 
like  an  emerald,  before  the  face  and  in  the  sight  of 
those  who  saw  them  on  earth,  and  with  the  knowledge  of 
the  Cause  of  All. 

2.  Alas  !  alas  !  I  sing  in  grief  as  I  recall  the  children. 
Would  that  I  could  turn  back  again  ;  would  that  I  could 
grasp  their  hands  once  more  ;  would  that  I  could  call 
them  forth  from  the  land  of  the  dead ;  would  that  we 
could  bring  them  again  on  earth,  that  they  might  rejoice 
and  we  rejoice,  and  that  they  might  rejoice  and  delight 
the  Giver  of  Life  ;  is  it  possible  that  we  His  servants 
should  reject  him  or  should  be  ungrateful  ?  Thus  I  weep 
in  my  heart  as  I,  the  singer,  review  my  memories,  recall- 
ing things  sad  and  grievous. 

3.  Would  only  that  I  knew  they  could  hear  me,  therein 
the  land  of  the  dead,  were  I  to  sing  some  worthy  song. 
Would  that  I  could  gladden  them,  that  I  could  console 
the  suffering  and  the  torment  of  the  children.  How  can 
it  be  learned  ?  Whence  can  I  draw  the  inspiration  ?  They 
are  not  where  I  may  follow  them  ;  neither  can  I  reach 
them  with  my  calling  as  one  here  on  earth. 


74  ANCIENT   NAHUATL    POEMS. 

IX.    Otro  Tlaocolcuica  Otomitl. 

1.  In  titloque  in  tinahuaque  nimitzontlaocolnonotzaya, 
nelcicihuiliz  mixpantzinco  noconiyahuaya,  ninentlamati 
in  tlalticpac  ye  nican  nitlatematia,  ninotolinia,  in  aye 
onotechacic  in  pactli,  in  necuiltonolli  ye  nican  ;  tlezannen 
naicoyc  amo  y  mochiuhyan,  tlacazo  atle  nican  xotlacue- 
poni  in  nentlamachtillia,  tlacazo  zan  ihuian  in  motloc  in 
monahuac ;  Macuelehuatl  ma  xicmonequilti  ma  mona- 
huactzinco  oc  ehuiti  in  noyolia,  ninixayohuatzaz  in  motloc 
monahuac  tipalnemohuani, 

2.  Quemachamiqueo  in  motimalotinemi  co  y  in 
tlalticpac  in  ayac  contenmatio  in  atlamachilizneque  o 
tlacazo  can  moztla  cahuia  on  in  amitztenmati  in  titloque 
in  tinahuaque  inic  momatio  ca  mochipa  tlalticpac, 
nemizqueo  ninotlamatli  motlaliao  niquimittao,  tlacazo 
mixitl  tlapatl  oquiqueo  ic  nihualnelaquahua  in  ninoto- 
linia o  tlacazo  ompa  in  ximohuayan  neittotiuh  o,  cazo 
tiquenamiqueo  quiniquac  ye  pachihuiz  ye  teyoUoa. 

3.  Ma  cayac  quen  quichihuaya  in  iyollo  in  tlalticpac 
ye  nican  in  titlaocaxtinemi  in  tichocatinemia,  ca  zacuel 
achic  ontlaniizoo,  tlacazo  zan  tontlatocatihuio  in  yuho 
otlatocatque  tepilhuan,  ma  ic  ximixcuiti  in  tinocniuh  in 
atonahuia  in  atihuelamati  in  tlalticpac  o ;  ma  oc  ye 
ximapana  in  tlaocolxochitl,  choquizxochitl,  xoyocatimalo 
o  xochielcicihuiliztlio  in  ihuicpatoconiyahuazon  in  tloque 
in  nahuaque. 


4.  lea  ye  ninapanao  tlaocolxochicozcatlon,  nomac 
ommanian  elcicihuilizchimalxochitlon,  nic  ehuaya  in 
tlaocolcuicatloo,  nicchalchiuhcocahuicomana  yectli  yan- 
cuicatl,  nic  ahuachxochilacatzoa,  yn  o  chalchiuhue- 
hueuhilhuitl,  itech  nictlaxilotia  in  nocuicatzin  in  nicuicani 
ye  niquincuilia  in  ilhuicac  chanequeo  zacuantototl, 
quetzaltzinitzcantototl  tcoquechol  inon  tlritoa  quechol  in 
qui  cecemeltia  in  tloque,  etc. 


ANCIENT   NAHUATL   POEMS.  75 

IX.  An   Otomi  Song  of  Sadness. 

I.  To  thee,  the  Cause  of  All,  to  thee  I  cried  out  in 
sadness,  my  sighs  rose  up  before  thy  face ;  I  am  afflicted 
here  on  earth,  I  suffer,  I  am  wretched,  never  has  joy 
been  my  lot,  never  good  fortune  ;  my  labor  has  been  of 
no  avail,  certainly  nothing  here  lessens  one's  suffering; 
truly  only  to  be  with  thee,  near  thee ;  may  it  be  thy 
will  that  my  soul  shall  rise  to  thee,  may  I  pour  out  my 
tears  to  thee,  before  thee.  O  thou  Giver  of  Life. 


2.  Happy  are  those  who  walk  in  thy  favor  here  on 
earth,  who  never  neglect  to  offer  up  praise,  nor,  leaving  till 
to-morrow,  neglect  thee,  thou  Cause  of  All,  that  thou  may- 
est  be  known  in  all  the  earth  ;  I  know  that  they  shall 
live,  I  see  that  they  are  established,  certainly  they  have 
drunk  to  forgetfulness  while  I  am  miserable,  certainly  I 
shall  go  to  see  the  land  of  the  dead,  certainly  we  shall 
meet  where  all  souls  are  contented. 

3.  Never  were  any  troubled  in  spirit  on  the  earth  who 
appealed  to  thee,  who  cried  to  thee,  only  for  an  instant 
were  they  cast  down,  truly  thou  caused  them  to  rule  as 
they  ruled  before :  Take  as  an  example  on  earth,  O 
friend,  the  fever-stricken  patient ;  clothe  thyself  in  the 
flowers  of  sadness,  in  the  flowers  of  weeping,  give  praises 
in  flowers  of  sighs  that  may  carry  you  toward  the  Cause 
of  All. 

4.  I  array  myself  with  the  jewels  of  saddest  flowers  ; 
in  my  hands  are  the  weeping  flowers  of  war ;  I  lift  my 
voice  in  sad  songs  ;  I  offer  a  new  and  worthy  song  which 
is  beautiful  and  melodious  ;  I  weave  songs  fresh  as  the  dew 
of  flowers  ;  on  my  drum  decked  with  precious  stones  and 
plumes  I,  the  singer,  keep  time  to  my  song,  as  I  take  it 
from  those  dwellers  in  the  heavens,  the  zacuan  bird,  the 
beautiful  tzinitzcan,  the  divine  quechol,  those  melodi- 
ous birds  who  give  joy  to  the  Cause  of  All. 


76  ANCIENT    NAHUATL   POEMS. 


I 


X.  Mexica  xopanancatl  tlamelatihcayotl. 

1.  Tlaocoya  in  noyollo  nicuicanitl  nicnotlamatia,  yehua 
za  yey  xochitl  y  zan  ye  in  cuicatlin,  ica  nitlacocoa  in 
tlalticpac  ye  nican,  ma  nequitocan  intech  cocolia  intech 
miquitlani  moch  ompa  onyazque  cano  y  ichan,  ohuaya. 

2.  I  inquemanian  in  otonciahuic,  in  otontlatzihuic 
tocon  ynayaz  in  momahuizco  in  motenyo  in  tlalticpac, 
ma  nenquitocane,  ohuaya,  etc. 

3.  Inin  azan  oc  huelnemohuan  in  tlalticpac  mazano 
ihuian  yehuan  Dios  quiniquac  onnetemoloa  in  tiaque  in 
canin  ye  ichan,  ohuaya. 

4.  Hu  inin  titotolinia  ma  yuhquitimiquican  ma  omo- 
chiuh  in  mantech  onittocan  in  tocnihuan  in  matech 
onahuacan  in  quauhtin  y  a  ocelotl. 

5.  Mazo  quiyocoli  macaoc  xictemachican,  can  antla- 
huicaya  y  caya  amechmotlatili  in  ipalnemohuani,  ohuaya. 

6.  Ay  ya  yo  xicnotlamatican  Tezcacoacatl,  Atecpane- 
catl  mach  nel  amihuihuinti  in  cozcatl  in  chalchihuitli,  ma 
ye  anmonecti,  ma  ye  antlaneltocati. 


ANCIENT   NAHUATL    POEMS.  77 


I 


X.  A  Spring  Song  of  the  Mexicans,  a  Plain  So7ig. 

1.  My  heart  grieved,  I,  the  singer,  was  afflicted,  that 
these  are  the  only  flowers,  the  only  songs  which  I  can 
procure  here  on  earth  ;  see  how  they  speak  of  sickness 
and  of  death,  how  all  go  there  to  their  homes,  alas. 

2.  Sometimes  thou  "hast  toiled  and  acquired  skill,  thou 
takest  refuge  in  thy  fame  and  renown  on  earth ;  but  see 
how  vain  they  speak,  alas. 

3.  As  many  as  live  on  earth,  truly  they  go  to  God 
when  they  descend  to  the  place  where  are  their  homes, 
alas. 

4.  Alas,  we  miserable  ones,  may  it  happe'n  when  we 
die  that  we  may  see  our  friends,  that  we  may  be  with 
them  in  grandeur  and  strength. 

5.  Although  He  is  the  Creator,  do  not  hope  that  the 
Giver  of  Life  has  sent  you  and  has  established  you. 

6.  Be  ye  grieved,  ye  of  Tezcuco  and  Atecpan,  that  ye 
are  intoxicated  with  gems  and  precious  stones ;  come 
forth  to  the  light,  come  and  believe. 


78  ANCIENT    NAHUATL    POEMS. 

XI.    Otro. 

1.  Nicchocaehua,  nicnotlamati,  nicelnamiqui  ticauhte- 
huazque  yectliya  xochitl  yectli  yancuicatl ;  ma  oc  tonahui- 
acan,  ma  oc  toncuicacan  cen  tiyahui  tipolihui  ye  ichan, 
etc. 

2.  Achtleon  ah  yuhquimati  in  tocnihuan  cocoya  in 
noyollo  qualani  yehua  ay  oppan  in  tlacatihua  ye  ay  oppa 
piltihuaye  yece  yequi  xoantlalticpac. 


3.  Oc  achintzinca  y  tetloc  ye  nican  tenahuacan  aic 
yezco  on  aic  nahuiaz  aic  nihuelamatiz. 

4.  In  can  on  nemian  noyollo  yehua?  Can  liuel  ye  no- 
chan  ?    Can  huel  nocallamanian  ?     Ninotolinia  tlalticpac. 

5.  Zan  ye  tocontemaca  ye  tocontotoma  in  mochalchiuh, 
ye  on  quetzalmalintoc,  zacuan  icpac  xochitl,  za  yan 
tiquinmacayan  tepilhuan  O. 

6.  In  nepapan  xochitl  conquimilo,  conihuiti  ye 
noyollo  niman  nichocaya  ixpan  niauh  in  tonan. 

7.  Zan  nocolhuia :  ipalnemohua  ma  ca  ximozoma, 
ma  ca  ximonenequin  tlalticpac,  mazo  tehuantin  motloc 
tinemican  y,  zan  ca  ye  moch  ana  ilhuicatlitica. 

8.  Azo  tie  nello  nicyaitohua  nican  ipalnemohua,  zan 
tontemiqui  y,  zan  toncochitlehuaco,  nicitoa  in  tlalticpac 
ye  ayac  huel  tontiquilhuia  ye  nicana. 


9.  In  manel   ye  chalchihuitl,  mantlamatilolli,  on  aya 
mazo  ya  ipalnemohuani  ayac  hueltic  ilhuia  nicana. 


ANCIENT    NAHUATL    POEMS.  79 

XI.  Another. 

1.  I  lift  my  voice  in  wailing,  I  am  afflicted,  as  I  remem- 
ber that  we  must  leave  the  beautiful  flowers,  the  noble 
songs ;  let  us  enjoy  ourselves  for  a  while,  let  us  sing,  for 
we  must  depart  forever,  we  are  to  be  destroyed  in  our 
dwelling  place. 

2.  Is  it  indeed  known  to  our  friends  how  it  pains  and 
angers  me  that  nev^er  again  can  they  be  born,  never  again 
be  young  on  this  earth  ? 

3.  Yet  a  little  while  with  them  here,  then  nevermore 
shall  I  be  with  them,  nevermore  enjoy  them,  nevermore 
know  them. 

4.  Where  shall  my  soul  dwell  ?  Where  is  my  home  ? 
Where  shall  be  my  house  ?     I  am  miserable  on  earth. 

5.  We  take,  we  unwind  the  jewels,  the  blue  flowers  are 
woven  over  the  yellow  ones,  that  we  may  give  them  to 
the  children. 

6.  Let  my  soul  be  draped  in  various  flowers ;  let  it  be 
intoxicated  by  them,  for  soon  must  I  weeping  go  before 
the  face  of  our  mother. 

7.  This  only  do  I  ask : — Thou  Giver  of  Life,  be  not 
angry,  be  not  severe  on  earth,  let  us  live  with  thee  on 
earth,  take  us  to  the  Heavens. 

8.  But  what  can  I  speak  truly  here  of  the  Giver  of 
Life  ?  We  only  dream,  we  are  plunged  in  sleep  ;  I  speak 
here  on  earth  ;  but  never  can  we  speak  in  worthy  terms 
here. 

9.  Although  it  may  be  jewels  and  precious  ointments 
(of  speech),  yet  of  the  Giver  of  Life,  one  can  never  here 
speak  in  worthy  terms. 


80  ANXIENT    NAHUATL    POEMS. 

XII.   Xopanadcatl  nenonotzalaticatl  ipampa  in 
aqiiiqiie  amo  on  mixtilia  in  yaoc. 

I.  Nictzotzonan  nohuehueuh  nicuicatlamatquetl  ic 
niquimonixitia  ic  niquimitlehua  in  tocnihuan  in  atle  in 
yollo  quimati  in  aic  tlathui  ipan  inin  yollo  yaocochmic- 
toque  in  inpan  motimaloa  in  mixtecomatlayohualli  anen 
niquito  huay  motolinia  y,  maquicaqui  qui  y  xochitlathui- 
cacuicatl  occeh  tzetzeuhtimania  huehuetitlana,  ohuaya, 
ohuai. 


2.  Tlahuizcalteochitla  oncuepontimani  in  ixochiquiya- 
opan  in  tloque  in  nahuaque,  onahuachtotonameyotimani 
in  teyolquima ;  ma  xiqualitacan  in  atle  ipan  ontlatao,  zan- 
nen  cuepontimanio  ayac  mahaca  quelehuiao  in  antocni- 
huan  amo  zannen  ya  xochitl  yoliliztlapalneucxochitla  e. 

3-  Quiyolcaihuintia}'a  in  teyolia,  zan  oncan  ye  oniania, 
zan  oncan  ye  oncuepontimania  quauhtepetitlan  in  ya 
hualiuhcancopa  y  ixtlahuatlitica  oncan  inemaya  oc  teoati 
tlachinolli  a.  Oncan  in  epoyahuayan  in  teoquauhtli 
oncan  iquiquinacayan,  in  ocelotl,  ipixauhyan  in  nepapan 
tlazomaquiztetl,  in  emomolotzayan  in  nepapan  tlazopili- 
huitl,  oncan  teintoque  oncan  xamantoque  in  tepilhuan. 

4.  Tlacuah  yehuantin  in  tepilhuani  conelehuiao,  in 
tlahuizcalxochitlan  ya  nemamallihuao  ic  tetlanfinectiao, 
in  ilhuicac  onocon  iceolitzin  yn  iotepiltzina  quitzetzeloti- 
manio  a  in  tepilhuan  in  quauhtliya  ocelotl,  in  quime- 
mactiao  in  xochicueponalotlon  in  quimihuintia  yeyol- 
xochiahuechtlia. 

5.  In  ic  timomatia  in  tinocniuh  zan  ne  yan  xochitlon 
in  tiquelehuiaon  in  tlalticpac,  qucn  toconcuizon  quen 
ticyachihuazon,  timotolinia  in  tiquimiztlacoa  a  in  tepilhuan 
xochitica  cuicatica ;  ma  xihuallachican  in  atle  y  ica 
mitl,  ehuaon  zan  moch  yehuantin  in  tepilhuan  zacuanme- 


ANCIENT    NAHUATL    POEMS.  81 

XII.  A  Spring  Song,  a  Song  of  Exhortation, 
Becattse  Ceidain  Ones  did  not  go  to  the  War. 

1.  I  strike  on  my  drum,  I  the  skillful  singer,  that  I  may 
arouse,  that  I  may  fire  our  fi-iends,  who  think  of  nothing, 
to  whose  minds  plunged  in  sleep  the  dawn  has  not 
appeared,  over  whom  are  yet  spread  the  dark  clouds  of 
night ;  may  I  not  call  in  vain  and  poorly,  may  they  hear 
this  song  of  the  rosy  dawn,  poured  abroad  widely  by  the 
drum,  ohe  !  ohe  ! 

2.  The  divine  flowers  of  dawn  blossom  forth,  the  war 
flowers  of  the  Cause  of  All ;  glittering  with  dew  they 
scatter  abroad  their  fragrance ;  bring  them  hither  that  they 
be  not  hidden  nor  bloom  in  vain,  that  they  may  rejoice 
you  our  friends,  and  not  in  vain  shall  be  the  flowers,  the 
living,  colored,  brilliant  flowers. 

3.  They  intoxicate  the  soul,  but  they  are  only  found, 
they  blossom  only  on  the  lofty  mountains,  on  the  broad 
plains  where  glorious  war  finds  its  home.  There  is  where 
the  eagles  gather  in  bands  of  sixties,  there  the  tigers 
roar,  there  the  various  beloved  stones  rain  down,  there 
the  various  dear  children  are  cut  to  pieces  ;  there  the 
youths  are  split  into  shards  and  ground  into  fragments. 

4.  Stoutly  do  those  youths  rejoice,  laboring  for  the 
rose  of  the  dawn  that  they  may  win  it ;  and  in  heaven, 
He,  the  only  one,  the  noble  one,  pours  down  upon  the 
youths  strength  and  courage,  that  they  may  pluck  the 
budding  flowers  of  the  pathway,  that  they  may  be  intoxi- 
cated with  the  dew-damp  flowers  of  the  spirit. 

5.  Know,  my  friend,  that  these  are  the  only  flowers 
which  will  give  thee  pleasure  on  earth  ;  mayest  thou  take 
them  and  make  them  ;  O  poor  one,  search  out  for  thy 
children  these  flowers  and  songs.  Look  not  hither  with- 
out arrows,  let  all  the  youths  lift  up   their  voices,  like 


82  ANCIENT    NAHUATL    POEMS. 

teoquecholtitzinitzcatlatlauhquecholtin    moyeh  yectitine- 
mio  in  onmatio  in  ixtlahuatlitican. 


6.  Chimalxochitl,  quauhpilolxochitl  ic  oquichtlama- 
timani  in  y  antepilhuan  xochicozcaocoxochitl  ic 
mapantimanian,  quitimaloao  yectliya  cuicatl,  yectliya 
xochitl,  imezo  imelchiquiuh  patiuh  mochihuaya  in  quicelia 
on  in  teoatl  tlachinolli ;  y  iantocnihuan  tliliuhquitepeca 
in  tiyaotehua  huey  otlipana,  ma  huel  xoconmanao  y  ye 
mochimalo,  huel  xonicaon  in  ti  quauhtliya  ocelotla. 


XIII.  Htiexotzincayotl. 

I.  Zan  tlaocolxochitl,  tlaocolcuicatl  on  mania  Mexico 
nican  ha  in  Tlatilolco,  in  yece  ye  oncan  on  neixima- 
choyan,  ohuaya. 


2.  Ixamayo  yectH  in  zan  ca  otitech  icneli  ipalnemohu- 
ani,  in  za  can  tipopohhuizque  in  timacehualta,  ohuaya. 

3.  Ototlahuehltic,  zan  titotoHnia  timacehualtinquezo 
huel  tehuantin,  otiquittaque  in  cococ  ye  machoyan, 
ohuaya. 


4.  Ticmomoyahua,  ticxoxocoyan  in  momacehualy  in 
Tlatilolco  cococ  moteca  cococ  ye  machoyan  ye  ic  ticia- 
huia  ipalnemoani,  ohuaya. 

5.  Choquiztli  moteca  ixayotl  pixahui  oncan  a  in 
Tlatilolco ;  in  atlan  yahqueon  o  in  Mexica  ye  cihua 
nelihui  ica  yehuilo  a  oncan  ontihui  in  tocnihuan  a, 
ohuaya. 


ANCIENT    NAHUATL    POEMS.  83 

zacuan  birds,  divine  quechols,  tzinitzcans,  and  red  que- 
chols,  who  live  joyous  lives,  and  know  the  fields. 

6.  O  youths,  here  there  are  skilled  men  in  the  flowers 
of  shields,  in  the  flowers  of  the  pendant  eagle  plumes, 
the  yellow  flowers  which  they  grasp  ;  they  pour  forth 
noble  songs,  noble  flowers  ;  they  make  payment  with 
their  blood,  with  their  bare  breasts  ;  they  seek  the  bloody 
field  of  war.  And  you,  O  friends,  put  on  your  black 
paint,  for  war,  for  the  path  of  victory ;  let  us  lay  hands 
on  our  shields,  and  raise  aloft  our  strength  and  courage. 


XIII.  A  Song  of  Huexotzinco. 

I.  Only  sad  flowers,  sad  songs,  are  here  in  Mexico,  in 
Tlatilolco,  in  this  place  these  alone  are  known,  alas. 


2.  It  is  well  to  know  these,  if  only  we  may  please  the 
Giver  of  Life,  lest  we  be  destroyed,  we  his  subjects, 
alas. 

3.  We  have  angered  Him,  we  are  only  wretched 
beings,  slaves  by  blood ;  we  have  seen  and  known  afflic- 
tion, alas. 

4.  We  are  disturbed,  we  are  embittered,  thy  servants 
here  in  Tlatilolco,  deprived  of  food,  made  acquainted  with 
affliction,  we  are  fatigued  with  labor,  O  Giver  of  Life, 
alas. 


5.  Weeping  is  with  us,  tears  fall  like  rain,  here  in 
Tlatilolco  ;  as  the  Mexican  women  go  down  to  the  water, 
we  beg  of  them  for  ourselves  and  our  friends,  alas. 


84  ANCIENT    NAHUATL    POEMS. 

6.  In  ic  neltic  o  ya  cahua  Atloyantepetl  o  in  Mexico 
in  poctli  ehuatoc  ayahuitl  onmantoc,  in  tocon  ya  chihuaya 
ipalnemoani,  ohuaya. 

7.  In  an^Iexica  ma  xiquilnamiquican  o  yan  zan  topan 
quitemohuia  y  ellelon  i  mahuizo  yehuan  zan  yehuan  Dios, 
yehua  anquin  ye  oncan  in  coyonacazco,  ohuaya. 

8.  Za  can  ye  oncan  zan  quinchoquiz  tlapaloa  o  anqui- 
huitzmanatl  incan  yeuch  motelchiuh  on  ya  o  anquin  ye 
mochin,  ha  in  tlayotlaqui,  ah  in  tlacotzin,  ah  in  tlacate- 
uctH  in  oquichtzin  y  huihui  ica  9a  ye  con  yacauhqui  in 
Tenochtitlan,  ohuaya. 


9.  In  antocnihuan  ma  xachocacan  aya  ma  xaconmati- 
can  ica  ye  ticcauhque  Mexicayotl  huiya,  zan  ye  yatl 
chichixhuiya  no  zan  ye  tlaqualH  chichixaya  zan  con  aya 
chiuhqui  in  ipalnemoani  ha  in  Tlatilolco  y,  ohuaya. 

10.  Tel  ah  zan  yhuian  huicoque  hon  in  motelchiuhtzin 
ha  in  tlacotzin  zan  mocuica  ellaquauhque  ac  achinanco 

.in  ahiquac  in  tlepan  quixtiloto  in  coyohuacan,  ohuaya. 


ANCIENT    NAHUATL    POEMS.  85 

6.  Even  as  the  smoke,  rising,  lies  in  a  cloud  over 
Mount  Atloyan,  in  Mexico,  so  does  it  happen  unto  us,  O 
Giver  of  Life,  alas. 

7.  And  you  Mexicans,  may  you  remember  concern- 
ing us  when  you  descend  and  suffer  before  the  majesty  of 
God,  when  there  you  shall  howl  like  wolves. 

8.  There,  there  will  be  only  weeping  as  your  greeting 
when  you  come,  there  you  will  be  accursed,  all  of  you, 
workers  in  filth,  slaves,  rulers  or  warriors,  and  thus 
Tenochtitlan  will  be  deserted. 

9.  Oh  friends,  do  not  weep,  but  know  that  sometime 
we  shall  have  left  behind  us  the  things  of  Mexico,  and 
then  their  water  shall  be  made  bitter  and  their  food  shall 
be  made  bitter,  here  in  Tlatilolco,  as  never  before,  by  the 
Giver  of  Life. 

10.  The  disdained  and  the  slaves  shall  go  forth  with 
song ;  but  in  a  little  while  their  oppressors  shall  be  seen 
in  the  fire,  amid  the  howling  of  wolves. 


86  ANCIENT   NAHUATL    POEMS. 

XIV. 

1.  Zan  tzinitzcan  impetlatl  ipan,  ohuaya  ;  on  tzinitzcan 
iceliztoca  oncan  izan  in  ninentlamatia,  in  zan  icnoxochi- 
cuicatica  inocon  ya  temohua  ya  ohuaya,  ohuaya. 

2.  In  canin  nemiya  icanon  in  nemitoconchia  ye  nican 
huehuetitlan  a  ayiahue,  ye  onnentlamacho,  ye  mocatlao- 
coyalo  ay  xopancahteca,  ohuaya,  ohuaya. 

3.  Ac  ipiltzin  ?  Achanca  ipiltzin  yehuayan  Dios  Jesu 
Christo  can  quicuilo  antlacuiloa  quicuilo  ancuicatl  a 
ohuaya,  ohuaya. 

4.  O  achan  canel  ompa  huiz  canin  ilhuicac  y  xochin- 
tlacuilol  xochincahtec  a  ohuaya  ohuaya. 

5.  In  ma  ontlachialoya  in  ma  ontlatlamahuicolo  in 
tlapapalcalimanican  y  ipalnemoa  y  tlayocol  yehuan  Dios, 
ohuaya. 


6.  Techtohnian  techtlatlanectia  y  icuicaxochiamilpan, 
intechontlatlachialtian  ipalnemohua  itlayocol  yehuan 
Dios  a  ohuava. 


7.  Ya  ixopantla  ixopantlatinenemi  ye  nican  ixtlahuatl 
yteey,  za  xiuhquechol  quiahuitl  zan  topan  xaxamacay  in 
athxco  ya  ohuaya,  ohuaya. 

8.  Zan  ye  nauhcampay  ontlapepetlantoc,  oncan 
onceliztoc  in  cozahuizxochitl,  oncan  nemi  in  Mexica  in 
tepilhuan  a  ohuaya  ohuaya. 


ANXIENT    NAHUATL    POEMS.  ^'     87 

XIV. 

1.  Only  the  tzinitzcan  is  in  power,  the  tzinitzcan  arouses 
me  in  m)-  affliction,  letting  fall  its  songs  like  sad  flowers. 

2.  Wherever  it  wanders,  wherever  it  lives,  one  awaits 
it  here  with  the  drum,  in  affliction,  in  distress,  here  in  the 
house  of  spring. 

3.  Who  is  the  royal  son  ?  Is  not  the  royal  son,  the 
son  of  God,  Jesus  Christ,  as  was  written  in  your  writings, 
as  was  written  in  your  songs  ? 

4.  Is  not  the  flowery  writing  within  the  house  of 
flowers  that  he  shall  come  there  from  heaven  ? 

5.  Look  around  and  wonder  at  this  scene  of  many 
colored  houses  which  God  has  created  and  endowed  with 
life. 

6.  They  make  us  who  are  miserable  to  see  the  light 
among  the  flowers  and  songs  of  the  fertile  fields,  they 
cause  us  to  see  those  things  which  God  has  created  and 
endowed  with  life. 

7.  They  dwell  in  the  place  of  spring,  in  the  place  of 
spring,  here  within  the  broad  fields,  and  only  for  our  sakes 
does  the  turquoise-water  fall  in  broken  drops  on  the 
surface  of  the  lake. 

8.  Where  it  gleams  forth  in  fourfold  rays,  where  the 
fragrant  yellow  flowers  bud,  there  live  the  Mexicans,  the 
youths. 


88  A^XIENT    NAHUATL    POEMS.  ) 

XV.    Tezozomoctli  ic  motecpac. 

1.  Zan  ca   tzihuactitlan,  mizquititlan,  aiyahue    Chico- 
moztocpa,  mochi  ompa  yahuitze  antlatohuan  ye    nican,     . } 
ohuaya,  ohuaya. 

2.  Nican  momalinaco  in  colcahuahtecpillotl  huiya 
nican  milacatzoa  in  Colhuaca  Chichimecayotl  in 
toteuchuahuia. 

3.  Ma  oc  achitzinca  xomotlanecuican  antepilhuan 
huiya  tlacateuhtzin  Huitzilihuitl  a  ya  cihuacoatl  y 
Quauhxilotl  huia  totomihuacan  Tlalnahuacatl  aya  zan  ca 
xiuhtototl  Ixtlilxochitl  y  quenman  tlatzihuiz  quimohmo- 
yahuaquiuh  yauh  y  tepeuh  yehuan  Dios  ica  ye  choca 
Tezozomoctli  ohuaya  ohuaya. 

4.  Yenoceppa  mizquitl  yacahuantimani  Hueytlalpani, 
anquican  itlatol  yehuan  Dios  a  ohuaya,  ohuaya. 

5.  Can  onyeyauh  xochitl,  can  oyeyauh  yeh  intoca 
quauhth  ocelotl  huia  ya  moyahuaya  xehhuia  Atloyante- 
petl  Hueytlalpan  y  anquizan  itlatol  ipalnemohua  ohuaya 
ohuaya. 


6.  Oncuiltonoloc,  onechtlachtiloc,  in  teteuctin  cemana- 
huac  y  huel  zotoca  huipantoca  y  tlatol  ipalnemohuani, 
huel  quimothuitico,  hucl  qui.ximatico  y  yollo  yehuan 
Dios  huiya  chalchihuitl  maquiztliya  tlamatelolliya  tizatla 
ihuitla  za  xochitl  quimatico  yaoyotla  ohuaya  ohuaya. 


7.  Oya  in  Tochin  y  miec  acalcatli,  Acolmiztlan  teuctli 
zan  Catocih  teuctli  Yohuallatonoc  y  yehuan  Cuetzpaltzin 
Iztaccoyotl  totomihuacan  Tla.Kcalian  ohuaye  Coatzi- 
teuctli  Huitlalotzin  za  xochitl  quimatico  yaoyotla  ohuaya 
ohuaya. 


ANCIENT   NAHUATL   POEMS.  89 

XV.    The  Reign  of  Tezozomoctli. 

1.  From  the  land  of  the  tzihuac  bushes,  from  the  land  of 
the  mezquite  bushes,  where  was  ancient  Chicomoztoc, 
thence  came  all  your  rulers  hither. 

2.  Here  unrolled  itself  the  royal  line  of  Colhuacan, 
here  our  nobles  of  Colhuacan,  united  with  the  Chichi- 
mecs. 


3.  Sing  for  a  little  while  concerning  these,  O  chil- 
dren, the  sovereign  HuitzilihuitI,  the  judge  Quauhxilotl, 
of  our  bold  leader  Tlalnahuacatl,  of  the  proud  bird 
Ixtlilxochitl,  those  who  went  forth,  and  conquered  and 
ruled  before  God,  and  bewail  Tezozomoctli. 


4.  A  second  time  they  left  the  mezquite  bushes  in  Hue 
Tlalpan,  obeying  the  order  of  God. 

5.  They  go  where  are  the  flowers,  where  they  may 
gain  grandeur  and  power,  dividing  asunder  they  leave 
the  mountain  Atloyan  and  Hue  Tlalpan,  obeying  the 
order  of  the  Giver  of  Life. 

6.  It  is  cause  of  rejoicing,  that  I  am  enabled  to  see 
our  rulers  from  all  parts  gathering  together,  arranging  in 
order  the  words  of  the  Giver  of  Life,  and  that  their 
souls  are  caused  to  see  and  to  know  that  God  is  precious, 
wonderful,  a  sweet  ointment,  and  that  they  are  known  as 
flowers  of  wise  counsel  in  the  affairs  of  war. 


7.  There  were  Tochin,  with  many  boats,  the  noble 
Acolmiztlan,  the  noble  Catocih,  Yohuallatonoc,  and 
Cuetzpaltzin,  and  Iztaccoyotl,  bold  leaders  from  Tlaxcalla, 
and  Coatziteuctli,  and  Huitlalotzin,  famed  as  flowers  on 
the  field  of  battle. 


90  ANCIENT   NAHUATL    POEMS. 

8.  Tley  an  quiyocoya  anteteuctin  y  Huexotzinca  ?  ma 
xontlachiacan  Acolihuacan  in  quatlapanca  oncan  ye 
Huexotla  itztapallocan  huia  yeyahuatimani  Atloyantepetl 
a  ohuaya. 

9.  Oncan  in  pochotl  ahuehuetl  oncan  icaca  mizquitl  ye 
oztotlhuia  tetlaquahuac  quimatia  ipalnemohuani  oyao  ai 
ya  hue  ohuaya. 

10.  Tlacateotl  nopiltzin  Chichimecatl  y  tleonmach  itla 
techcocolia  TezozomoctU  tech  in  micitlani  ye  ehuaya  ata- 
yahuili  quinequia  yaoyotl  necahztlon  quima  Acolhuacan 
ohuaya. 


11.  Tel  ca  tonehua  ticahuiltia  ipalnemohuani  Colihua 
o  o  Mexicatl  y  tlahcateotl  huiaya  atayahui-li  quinequia 
yaoyotl  necaliztl  qui  mana  Acolhuacan  a  ohuaya  ohuaya. 

12.  Zan  ye  on  necuiltonolo  in  tlalticpac  ay  oppan 
titlano  chimalli  xochitl  ay  oppan  ahuiltilon  ipalnemohua  ; 
ye  ic  anauia  in  tlailotlaqui  xayacamacha  huia  ho  ay  ya 
yi  ee  ohuaya  ha  ohuaya. 

13.  Inacon  anquelehuia  chimalli  xochitl  y  yohual 
xochitli  tlachinol  xochitl ;  ye  ic  neyahpanalo  antepilhuan 
huiya  Quetzalmamatzin  Huitznahuacatl  ohuaye  ho  ha 
yia  yi  ee  oua  yi  aha  ohuaya. 

14.  Chimal  tenamitl  oncan  in  nemohua  yehua  necalia 
huilotl  oyahualla  icahuaca  yehuaya  on  canin  ye  nemi  in 
tecpipiltin  Xiuhtzin  xayacamachani  amehuano  o  ancona- 
huiltia  ipalnemohua  ohuaya. 

15.  In  ma  huel  netotilo  mannemamanaloya  yaonahuac 
a  on  netlamachtiloyan  ipan  nechihuallano  ohuaye  in 
tepiltzin  can  ye  mocuetlaca  ohuaya,  ohuaya. 


ANCIENT    NAHUATL    POEMS.  91 

8.  For  what  purpose  do  you  make  your  rulers,  men  of 
Huexotzinco  ?  Look  at  Acolhuacan  where  the  men  of 
Huexotzinco  are  broken  with  toil,  are  trod  upon  like 
paving  stones,  and  wander  around  the  mountain  Atloyan, 

9.  There  is  a  ceiba  tree,  a  cypress  tree,  there  stands  a 
mezquite  bush,  strong  as  a  cavern  of  stone,  known  as  the 
Giver  of  Life. 

10.  Ruler  of  men,  Nopiltzin,  Chicimec,  O  Tezozomoc- 
tli,  why  hast  thou  made  us  sick,  why  brought  us  to  death, 
through  not  desiring  to  offer  war  and  battle  to  Acol- 
huacan ? 

11.  But  we  lift  up  our  voice  and  rejoice  in  the  Giver  of 
life;  the  men  of  Colhuacan  and  the  Mexican  leader  have 
ruined  us,  through  not  desiring  to  offer  war  and  battle  to 
Acolhuacan. 


12.  The  only  joy  on  earth  will  be  again  to  send  the 
shield-flower,  again  to  rejoice  the  Giver  of  Life ;  already 
are  discontented  the  faces  of  the  workers  in  filth. 


13.  Therefore  you  rejoice  in  the  shield-flowers,  the 
flowers  of  night,  the  flowers  of  battle ;  already  are  }'e 
clothed,  ye  children  of  Quetzalmamatzin  and  Huitzna- 
huacatl. 

14.  Your  shield  and  your  wall  of  safety  are  where 
dwells  the  sweet  joy  of  war,  where  it  comes,  and  sings 
and  lifts  its  voice,  where  dwell  the  nobles,  the  precious 
stones,  making  known  their  faces  ;  thus  you  give  joy  to 
the  Giver  of  Life. 

15.  Let  your  dancing,  and  banqueting  be  in  the  battle, 
there  be  your  place  of  gain,  your  scene  of  action,  where 
the  noble  youths  perish. 


92  ANCIENT   NAHUATL    POEMS. 

1 6.  Quetzalipantica  oyo  huiloa  ahuiltiloni  ipalnemo- 
huan  yectlahuacan  in  tapalcayocan  a  ohuaya  ohuaya. 

17.  Oyo  hualehuaya  ye  tocalipan  oyohua  yehua 
Huexotzincatl  y  tototihua  o  o  Iztaccoyotla  ohuaya 
ohuaya. 

18.  Ace  melle  ica  tonacoquiza  y  nican  topantilemonti 
Tlaxcaltecatl  itocoya  cacaHa  in  altepetl  y  Huexochinco 
ya  ohuaya. 

19.  Cauhtimanizo  polihuiz  tlalli  yan  totomihuacan 
huia  cehuiz  yioUo  o  antepilhuan  a  Huexotzinca.y  ohuaya 
ohuaya. 

20.  Mizquitl  y  mancan  tzihuactli  y  mancan  ahuehuetl 
onicacahuia  ipalnemohua,  xonicnotlamati  mochi  eh- 
manca  Huexotzinco  ya  zanio  oncan  in  huel  on  mani 
tlalla  ohuaya  ohuaya. 

21.  Zan  nohuian  tlaxixinia  tlamomoyahua  y  ayoc  an- 
mocehuia  momacehual  y  hualcaco  mocuic  in  icelteotl  oc 
xoconyocoyacan  antepilhuan  a  ohuaya  ohuaya. 

22.  Zan  mocuepa  itlatol  conahuiloa  ipalnemohua 
Tepeyacac  ohuaye  antepilhuan  ohuaya  ohuaya. 

23.  Canel  amonyazque  xoconmolhuican  an  Tlaxcalteca 
y  Tlacomihuatzin  hui  oc  oyauh  itlachinol  ya  yehuan 
Dios  a  ohuaya. 

24.  Cozcatl  ihuihui  quetzal  nehuihuia  oc  zo  conhui- 
panque  zan  Chichimeca  y  Totomihua  a  Iztaccoyotl  a 
ohuaya  ohuaya. 

25.  Huexotzinco  ya  zan  quiauhtzinteuctli  techcocolia 
Mexicatl  itechcocolia  Acolihuiao  ach  quennelotihua 
tonyazque  quenonamican  a  ohuaye  ohuaye. 


ANCIENT    NAHUATL    POEMS.  93 

1 6.  Dressed  in  their  feathers  they  go  rejoicing  the 
Giver  of  Life  to  the  excellent  place,  the  place  of  shards. 

17.  He  lifted  up  his  voice  in  our  houses  like  a  bird, 
that  man  of  Huexotzinco,  Iztaccoyotl. 

18.  WHioever  is  aggrieved  let  him  come  forth  with  us 
against  the  men  of  Tlaxcallan,  let  him  follow  where  the 
cit}'  of  Huexotzinco  lets  drive  its  arrows. 

19.  Our  leaders  will  lay  waste,  they  will  destroy  the 
land,  and  your  children,  O  Huexotzincos,  will  have  peace 
of  mind. 


20.  The  mezquite  was  there,  the  tzihuac  was  there,  the 
Giver  of  Life  has  set  up  the  cypress  ;  be  sad  that  evil  has 
befallen  Huexotzinco,  that  it  stands  alone  in  the  land. 

21.  In  all  parts  there  are  destruction  and  desolation,  no 
longer  are  there  protection  and  safety,  nor  has  the  one 
only  God  heard  the  song ;  therefore  speak  it  again,  you 
children ; 

22.  That  the  words  may  be  repeated,  you  children,  and 
give  joy  to  the  Giver  of  Life  at  Tepeyacan. 

23.  And  since  you  are  going,  you  Tlaxcallans,  call  upon 
Tlacomihuatzin  that  he  may  yet  goto  this  divine  war. 

24.  The  Chichimecs  and  the  leaders  and  Iztaccoy- 
otl have  with  difficulty  and  vain  labor  arranged  and  set 
in  order  their  jewels  and  feathers. 

25.  At  Huexotzinco  the  ruler  Quiauhtzin  hates  the 
Mexicans,  hates  the  Acolhuacans  ;  when  shall  we  go  to 
mix  with  them,  to  meet  them  ? 


94  ANCIENT    NAHUATL    POEMS. 

26.  Ay  antlayocoya  anquimitoa  in  amotahuan  an 
teteuctin  ayoquantzin  ihuan  a  in  tlepetztic  in  cacha 
ohuaya  tzihuacpopoca  yo  huaya. 

27.  Ca  zan  catcan  Chalco  Acolihuaca  huia  totomihua- 
can  y  amilpan  in  QuauhquechoUa  quixixinia  in  ipetl  icpal 
yehuan  Dios  ohoaya  ohuaya. 

28.  Tlazoco  a  ye  nican  tlalli  tepetl  yecocoliloya  cema- 
nahuac  a  ohuaya. 

29.  Quennel  conchihuazque  atl  popoca  itlacoh  in 
teuctli  tlalli  mocuepaya  Mictlan  onmatia  Cacamatl 
onteuctli,  quennel  conchihuazque,  ohuaya  ohuaya. 


XVI. 

1.  On  onellelacic  quexquich  nic  ya  ittoa  antocnihuan 
ayiaue  noconnenemititica  noyollon  tlalticpac  y  no- 
conycuilotica,  ay  niyuh  can  tinemi  ahuian  yeccan,  ay 
cemellecan  in  tenahuac  y,  ah  nonnohuicallan  in  quenon 
amican  ohuaya. 

2.  Zan  nellin  quimati  ye  noyollo  za  nelli  nicittoa 
antocnihuan,  ayiahue  aquin  quitlatlauhtia  icelteotl  yiollo 
itlacoca  con  aya  macan.  Machamo  oncan?  In  tlalticpac 
machamo  oppan  piltihua.  Ye  nelli  nemoa  in  quenon 
amican  ilhuicatl  y  itec  icanyio  oncan  in  netlamachtilo  y 
ohuaya. 


3.  O  yohualli  icahuacan  teuctlin  popoca  ahuiltilon 
Dios  ipalncmoluiani :  chimalli  xochitl  in  cuecuepontimani 
in  mahuiztli  moteca  molinian  tlalticpac,  ye  nican  ic 
xochimicohuayan  in  ixtlahuac  itec  a  ohuaya  ohuaya. 


ANCIENT    NAHUATL    POEMS.  95 

26.  Set  to  work  and  speak,  you  fathers,  to  your  rulers, 
to  your  lords,  that  they  may  make  a  blazing  fire  of  the 
smoking  tzihuac  wood. 

27.  The  Acolhuacans  were  at  Chalco,  the  Otomies 
were  in  your  cornfields  at  Quauhquechollan,  they  laid 
them  waste  by  the  permission  of  God. 

28.  The  fields  and  hills  are  ravaged,  the  whole  land  has 
been  laid  waste. 

29.  What  remedy  can  they  turn  to  ?  Water  and 
smoke  have  spoiled  the  land  of  the  rulers ;  they  have 
gone  back  to  Mictlan  attaching  themselves  to  the  ruler 
Cacamatl.     What  remedy  can  they  turn  to  ? 


XVI. 

1.  It  is  a  bitter  grief  to  see  so  many  of  you, dear  friends 
not  walking  with  me  in  spirit  on  the  earth,  and  written 
down  with  me  ;  that  no  more  do  I  walk  in  company  to 
the  joyful  and  pleasant  spots  ;  that  nevermore  in  union 
with  you  do  I  journey  to  the  same  place. 

2.  Truly  I  doubt  in  my  heart  if  I  really  see  you,  dear 
friends  ;  Is  there  no  one  who  will  pray  to  the  one  only 
God  that  he  take  this  error  from  your  hearts?  Is  no  one 
there  ?  No  one  can  live  a  second  time  on  earth.  Truly 
they  live  there  within  the  heavens,  there  in  a  place  of 
delight  only. 

3.  At  night  rises  up  the  smoke  of  the  warriors,  a 
delight  to  the  Lord  the  Giver  of  Life ;  the  shield-flower 
spreads  abroad  its  leaves,  marvelous  deeds  agitate  the 
earth ;  here  is  the  place  of  the  fatal  flowers  of  death 
which  cover  the  fields. 


96  ANCIENT   NAHUATL    POEMS. 

4.  Yaonauac  ye  oncan  yaopeuhca  in  ixtlahuac  itec 
iteuhtlinpopoca  ya  milacatzoa  y  momalacachoa  yao- 
xochimiquiztica  antepilhuan  in  anteteuctin  zan  Chichi- 
meca  y  ohuaya. 

5.  Maca  mahui  noyollo  ye  oncan  ixtlahuatl  itic,  noco- 
nele  hua  in  itzimiquiliztli  zan  quinequin  toyoUo  yaomi- 
quiztla  ohuaya. 

6.  O  anquin  ye  oncan  yaonahuac,  noconelehuia  in  itzi 
miquiliztli  can  quinequin  toyoUo  yaomiquiztla  ohuaya 
ohuaya. 

7.  Mixtli  ye  ehuatimani  yehuaya  moxoxopan  ipalnemo- 
huani  ye  oncan  celiztimani  a  in  quauhtlin  ocelotl,  ye  on- 
can cueponio  o  in  tepilhuan  huiya  in  tlachinol,  ohuaya 
ohuaya. 

8.  In  ma  oc  tonahuican  antocnihuan  ayiahue,  ma  oc 
xonahuiacan  antepilhuan  in  ixtlahuatl  itec,  y  nemoaqui- 
huic  zan  tictotlanehuia  o  a  in  chimalli  xochitl  in  tlachi- 
noll,  ohuaya,  ohuaya,  ohuaya. 


ANCIENT    NAHUATL    POEMS.  97 

4.  The  battle  is  there,  the  beginning  of  the  battle  is  in 
the  open  fields,  the  smoke  of  the  warriors  winds  around 
and  curls  upward  from  the  slaughter  of  the  flowery  war, 
ye  friends  and  warriors  of  the  Chichimecs. 

5.  Let  not  my  soul  dread  that  open  field;  I  earnestly 
desire  the  beginning  of  the  slaughter,  may  thy  soul  long 
for  the  murderous  strife. 

6.  O  you  who  are  there  in  the  battle,  I  earnestly  desire 
the  beginning  of  the  slaughter,  may  thy  soul  long  for  the 
murderous  strife. 


7.  The  cloud  rises  upward,  rising  into  the  blue  sky  of 
the  Giver  of  Life  ;  there  blossom  forth  prowess  and  daring, 
there,  in  the  battle  field,  come  the  children  to  maturity. 


8.  Let  us  rejoice,  dear  friends,  and  may  ye  rejoice,  O 
children,  within  the  open  field,  and  going  forth  to  it,  let 
us  revel  amid  the  shield-flowers  of  the  battle. 


98  ANCIENT    NAHUATL    POEMS. 

XVII.   XochictticaU. 

I.  Can  ti  ya  nemia  ticuicaniti  ma  ya  hualmoquetza 
xochihuehuetl  quetzaltica  huiconticac  teocuitlaxochi- 
nenepaniuhticac  y  ayamo  aye  iliamo  aye  huiy  ohuaya, 
oh  u  ay  a. 


2.  Tiquimonahuiltiz  in  tepilhuan  teteucto  in  qua 
ocelotl  ayamo,  etc. 


uhtlo 


3.  In  tlacace  otemoc  aya  huehuetitlan  ya  nemi  in  cui- 
canitlhuia  zan  qui  quetzal  in  tomaya  quexexeloa  aya 
icuic  ipalnemoa  qui  ya  nanquilia  in  coyolyantototl  on- 
cuicatinemi  xochimanamanaya  taxocha  ohuaya,  ohuaya. 

4.  In  canon  in  noconcaqui  in  tlatol  aya  tlacazo 
yehuatl  ipalnemoa  quiyananquilia  quiyananquilia  in 
coyolyantototl  on  cuicatinemi  xochimanamanaya,  etc. 

5.  In  chalchihuitl  ohuayee  on  quetzal  pipixauhtimania 
in  amo  tlatolhuia,  noyuh  ye  quittoa  yayoquan  yehuayan 
cuetzpal  ohuaye  anquinelin  ye  quimatin  ipalnemoa 
ohuaya. 

6.  Noyuh  quichihua  con  teuctlon  timaloa  yecan 
quetzalmaquiztla  matilolticoya  conahuiltia  icelteotlhuia 
achcanon  azo  a  yan  ipalnemoa  achcanon  azo  tie  nel  in 
tlalticpac  ohuaya. 

7.  Macuelachic  aya  maoc  ixquich  cahuitl  niquin  no- 
tlanehui  in  chalchiuhtini  in  maquiztini  in  tepilhuan  aya; 
zan  nicxochimalina  in  tecpillotl  huia  :  zan  ca  nican  nocuic 
ica  ya  nocon  ilacatzohua  a  in  huehuetitlan  a  ohuaya 
ohuaya. 

8.  Oc  noncoati  nican  Huexotzinco  y  nitLltohuani 
ni  teca  ehuatzin  huiya   chalchiuhti  zan  quetzalitztin  y, 


ANCIENT    NAHUATL    POEMS.  99 

XVI I.     A  Flozver  Song. 

1.  Where  thou  walkest,  O  singer,  bring  forth  thy  flow- 
ery drum,  let  it  stand  amid  beauteous  feathers,  let  it  be 
placed  in  the  midst  of  golden  flowers ; 

2.  That  thou  mayest  rejoice  the  youths  and  the  nobles 
in  their  grandeur. 

3.  Wonderful  indeed  is  it  how  the  living  song  de- 
scended upon  the  drum,  how  it  loosened  its  feathers  and 
spread  abroad  the  songs  of  the  Giver  of  Life,  and  the 
coyol  bird  answered,  spreading  wide  its  notes,  offering  up 
its  flowery  songs  of  flowers. 

4.  Wherever  I  hear  those  words,  perhaps  the  Giver  of 
Life  is  answering,  as  answers  the  coyol  bird,  spreading 
wide  its  notes,  offering  up  its  flowery  song  of  flowers. 


5.  It  rains  down  precious  stones  and  beauteous  feathers 
rather  than  words ;  it  seems  to  be  as  one  reveling  in 
food,  as  one  who  truly  knows  the  Giver  of  Life. 


6.  Thus  do  the  nobles  glorify  themselves  with  things 
of  beauty,  honor  and  delight,  that  they  may  please  the 
one  only  god,  though  one  knows  not  the  dwelling  of  the 
Giver  of  Life,  one  knows  not  whether  he  is  on  earth. 


7.  May  I  yet  for  a  little  while  have  time  to  revel  in 
those  precious  and  honorable  youths;  may  I  wreathe 
flowers  for  their  nobility ;  may  I  here  yet  for  a  while 
wind  the  songs  around  the  drum. 


8.  I  am  a  guest  here  among  the  rulers  of  Huexotzinco; 
I  lift  up  my  voice  and  sing  of  precious  stones  and  emer- 


100  ANCIENT   NAHUATL    POEMS. 

niquincenquixtia  in  tepilhuan  aya  zan  nicxochimalina  in 
tecpillotl  huia  ohuaya  ohuaya. 

9.  A  in  ilhuicac  itic  ompa  yeya  huitz  in  yectliyan 
xochitl  yectliyan  cuicatl  y,  conpolo  antellel  conpolo 
antotlayocol  y  in  tlacazo  yehuatl  in  Chichimecatl  teuctli 
in  teca  yehuatzin  ica  xonahuiacan  a  ohuaya  ohuaya. 

10.  Moquetzal  izqui  xochintzetzeloa  in  icniuhyotl 
aztlacaxtlatlapantica  ye  onmaHnticac  in  quetzalxiloxo- 
chitl  imapan  onnenemi  conchichichintinemi  in  teteuctin 
in  tepilhuan. 

11.  Zan  teocuitlacoyoltototl  o  huel  yectli  namocuic 
huel  yectli  in  anq'ehua  anquin  ye  oncan  y  xochitl  y  ya 
hualyuhcan  y  xochitl  imapan  amoncate  in  amontlatlatoa 
ye  ohuaya  ohui  ohui  ilili  y  yao  ayya  hue  ho  ama  ha  ilili 
ohua  y  yaohuia. 

12.  O  ach  ancati  quechol  in  ipalnemoa  o  ach  ancati 
tlatocauh  yehuan  Dios  huiya  achto  tiamehuan  anquitzto- 
que  tlahuizcalli  amoncuicatinemi  ohui,  ohui,  ilili,  etc. 

13.  Maciuhtiao  o  in  quinequi  noyollo,  zan  chimalli 
xochitl  mixochiuh  ipalnemoani,  quen  conchihuaz  noyollo 
yehua  onentacico  tonquizaco  in  tlalticpac  a  ohuaya 
ohuaya. 

14.  Zan  ca  yuhqui  noyaz  in  o  ompopoliuh  xochitla 
antlenotleyoye  in  quemmanian,  antlenitacihcayez  in 
tlalticpac.  Manel  xochitl  manel  cuicatl,  quen  conchihuaz 
noyollo  yehua  onentacico  tonquizaco  in  tlalticpac  ohuaya 
ohuaya. 

15.  Manton  ahuiacan  antocnihuan  aya  ma  on  nequech 
nahualo  nican  huiyaa  xochintlaticpac  ontiyanemiyenican 
ayac  quitlamitehuaz  in  xochitl  in  cuicatl  in  mani  a  ichan 
ipalnemohulani  yi  ao  ailili  yi  ao  aya  hue  aye  ohuaya. 


ANCIENT    NAHUATL    POEMS.  101 

aids  ;   I  select  from  among  the  youths  those  for  whom  I 
shall  wreathe  the  flowers  of  nobility. 

9.  There  comes  from  within  the  heavens  a  good  flower, 
a  good  song,  which  will  destroy  your  grief,  destroy  your 
sorrow;  therefore,  Chief  of  the  Chichimecs,  be  glad  and 
rejoice. 

10.  Here,  delightful  friendship,  turning  about  with 
scarlet  dyed  wings,  rains  down  its  flowers,  and  the  war- 
riors and  youths,  holding  in  their  hands  the  fragrant  xilo 
flowers,  walk  about  inhaling  the  sweet  odor. 


II.  The  golden  coyol  bird  sings  sweetly  to  you, 
sweetly  lifts  its  voice  like  a  flower,  like  sweet  flowers  in 
your  hand,  as  you  converse  and  lift  your  voice  in  singing, 
etc. 


12.  Even  like  the  quechol  bird  to  the  Giver  of  Life, 
even  a^  the  herald  of  God,  you  have  waited  for  the  dawn, 
and  gone  forth  singing  ohui,  etc. 

13.  Although  I  wish  that  the  Giver  of  Life  shall  give 
for  flowers  the  shield-flower,  how  shall  I  grieve  that  your 
efforts  have  been  in  vain,  that  you  have  gone  forth  from 
the  world. 

14.  Even  as  I  shall  go  forth  into  the  place  of  decayed 
flowers,  so  sometime  will  it  be  with  your  fame  and  deeds 
on  earth.  Although  they  are  flowers,  although  they  are 
songs,  how  shall  I  grieve  that  your  eflbrts  have  been  in 
vain,  that  you  have  gone  forth  from  the  world. 

15.  Let  us  be  glad,  dear  friends,  let  us  rejoice  while  w^e 
walk  here  on  this  flowery  earth ;  may  the  end  never  come 
of  our  flowers  and  songs,  but  may  they  continue  in  the 
mansion  of  the  Giver  of  Life. 


102  ANCIENT    NAHUATL    POEMS. 

1 6.  In  zancuelachitzincan  tlalticpac  aya  ayaoc  noiuhcan 
quennonamicani  cuixocpacohua  icniuhtihuay  auh  in  amo 
zanio  nican  totiximatizo  in  tlalticpac  y  yiao  ha  ilili  yiao. 

17.  Noconca  con  cuicatl  noconca  o  quin  tlapitzaya 
xochimecatl  ayoquan  teuctliya  ahuayie,  ohuayiao  ayio  yo 
ohua. 

18.  Zan  mitzyananquili  omitzyananquili  xochin- 
calaitec  y  in  aquiauhatzin  in  tlacateuhtli  ayapancatl 
yahuayia. 

19.  Cantinemi  noteouh  ipalnemohuani  mitztemohua  in 
quemmanian  y  mocanitlaocoyan,  nicuicanitlhuia,  zan  ni 
mitzahuiltiaya  ohuiyan  tililiyanco  huia  ohuaya  ohuaya. 

20.  In  zan  ca  izqui  xochitl  in  quetzalizqui  xochitl  pix- 
ahui  ye  nican  xopancalaitec  i  tlacuilolcalitec,  zan  nimitz- 
ahahuiltiaya  ohui. 

21.  O  anqui  ye  oncan  Tlaxcala,  ayahue,  chalchiuh- 
tetzilacuicatoque  in  huehuetitlan  ohuaye,  xochin  poyon 
ayiahue  Xicontencatl  teuctli  in  Tizatlacatzin  in  camaxo- 
chitzin  cuicatica  y  melelquiza  xochiticaya  on  chielo 
itlatol  ohuay  icelteotl  ohuaya. 

22.  O,  anqui  nohuia  y,  ye  mochan  ipalnemohua 
xochipetlatl  ye  noca  xochitica  on  tzauhticac  oncan 
mitztlatlauhtia  in  tepilhua  ohuaya. 

23.  In  nepapan  xochiquahuitl  onicac,  a}'a,  huehue- 
titlan a  a  yiahue,  can  canticaya  quetzaltica  malintiniani, 
ya,  yecxochitl  motzetzeloaya  ohuaya  ohuaya. 

24.  Can  quetzatzal  petlacoatl  ycpac  o,  ye  nemi  coj'olto- 
totl  cuicatinemiya,  can  quinanquili  teuctli  ya,  conahuilti- 
anquauhtloocelotl  ohuaya  ohuaya. 


ANCIENT   NAHUATL    POEMS.  103 

1 6.  Yet  a  little  while  and  your  friends  must  pass  from 
earth.  What  does  friendship  offer  of  enjoyment,  when 
soon  we  shall  no  longer  be  known  on  earth  ? 

17.  This  is  the  burden  of  my  song,  of  the  garland  of 
flowers  played  on  the  flute,  without  equal  in  the  place  of 
the  nobles. 

18.  Within  the  house  of  flowers  the  Lord  of  the 
Waters,  of  the  Gate  of  the  Waters,  answers  thee,  has 
answered  thee. 

19.  Where  thou  livest,  my  beloved,  the  Giver  of  Life 
sends  down  upon  thee  sometimes  things  of  sadness ;  but 
I,  the  singer,  shall  make  thee  glad  in  the  place  of  diffi- 
cult}-, in  the  place  of  cumber. 

20.  Here  are  the  many  flowers,  the  beauteous  flowers, 
rained  down  within  the  house  of  spring,  within  its 
painted  house,  and  I  with  them  shall  make  thee  glad. 

21.  O,  you  there  in  Tlaxcala,  you  have  played  like 
sweet  bells  upon  your  drums,  even  like  brilliantly  col- 
ored flowers.  There  was  Xicontecatl,  lord  of  Tizatlan, 
the  rosy-mouthed,  whose  songs  gave  joy  like  flowers,  who 
listened  to  the  words  of  the  one  only  God. 

22.  Thy  house,  O  Giver  of  Life  is  in  all  places ;  its 
mats  are  of  flowers,  finely  spun  with  flowers,  where  thy 
children  pray  to  thee. 

23.  A  rain  of  various  flowers  falls  where  stands,  the 
drum,  beauteous  wreaths  entwine  it,  sweet  flowers  are 
poured  down  around  it. 

24.  Where  the  brilliant  scolopender  basks,  the  coyol 
bird  scatters  abroad  its  songs,  answering  back  the  nobles, 
rejoicing  in  their  prowess  and  might. 


104  ANCIENT    NAHUATL    POEMS. 

25.  Xochitzetzeliuhtoc  y,  niconnetolilo  antocnihuan 
huehuetitlan  ai  on  chielo  can  nontlamati  toyollo  yehua 
ohuaya  ohuaya. 

26.  In  zan  ca  yehuan  Dios  tlaxic,  ya,  caquican  yehual 
temoya  o  ilhuicatl  itic,  y,  cuicatihuitz,  y,  quinanquilia  o, 
angelotin  ontlapitztihuitzteaya  oyiahue  yaia  o  o  ohuaya 
ohuaya. 

27.  Zan  ninentlamatia  can  niquauhtenco  ayahue  can 


XVIII.  Nican   Ompehua   Teponazctiicatl. 

Tico,  tico,  toco,  toto,  aiih  ic  ontlantiiih  adcatl,  tiqiii,  ti  ti,  tito, 
titi. 

1.  Tollan  aya  huapalcalli  manca,  nozan  in  mamani 
coatlaquetzaUi  yaqui  yacauhtehuac  Nacxitl  Topiltzin, 
onquiquiztica  ye  choquiHlo  in  topilhuan  ahuay  yeyauh 
in  poHhuitiuh  nechcan  Tlapallan  ho  ay. 

2.  Nechcayan  Cholollan  oncan  tonquizaya  Poyauhte- 
catitlan,  in  quiyapanhuiya  y  Acallan  anquiquiztica  ye 
choquiHlon  ye. 

3.  Nonohualco  ye  nihuitz  ye  nihui  quecholi  nimamah- 
teuctla,  nicnotlamatia  oyah  quin  noteuc  ye  ihuitimaH, 
nechya  icnocauhya  nimatlac  xochitl,  ayao  ayao  o  ayya  y 
yao  ay. 

4.  In  tepctl  huitomica  niyaychocaya,  axahqueuhca 
nicnotlamati\-a  o  yaquin  noteuc  (etc.  as  v.  3). 

5.  In  Tlapallan  aya  mochieloca  monahuatiloca  ye  cochi- 
ztla  o  anca  ca  zanio  ayao,  ayao,  a}'ao. 


ANCIENT   NAHUATL    POEMS.  105 

25.  Scattering  flowers  I  rejoice  you,  dear  friends,  with 
my  drum,  awaiting  what  comes  to  our  minds. 

26.  It  reaches  even  to  God,  he  hears  it  seeking  him 
within  the  heavens,  the  song  comes  and  the  angels  an- 
swer, playing  on  their  flutes. 

27.  But  I  am  sad  within  this  wood.     *      *      * 


XVIII.  Here  begin  Songs  for  the   Teponaztli. 

Tico,  tico,  toco,  toto,  and  as  the  song  approaches  the  end, 
tiqni,  titi,  tito,  titi. 

1.  At  Tollan  there  stood  the  house  of  beams,  there 
yet  stands  the  house  of  plumed  serpents  left  by  Nacxitl 
Topiltzin ;  going  forth  weeping,  our  nobles  went  to 
where  he  was  to  perish,  down  there  at  Tlapallan. 

2.  We  went  forth  from  Cholula  by  way  of  Poyauhtecatl, 
and  ye  went  forth  weeping  down  by  the  water  toward 
Acallan. 

3.  I  come  from  Nonohualco  as  if  I  carried  quechol 
birds  to  the  place  of  the  nobles ;  I  grieve  that  my  lord 
has  gone,  garlanded  with  feathers ;  I  am  wretched  like 
the  last  flower. 

4.  With  the  falling  down  of  mountains  I  wept,  with 
the  lifting  up  of  sands  I  was  wretched,  that  my  lord  had 
gone. 

5.  At  Tlapallan  he  was  waited  for,  it  was  commanded 
that  there  he  should  sleep,  thus  being  alone. 


106 


ANCIENT   NAHUATL    POEMS. 


6.  Zan  tiyaolinca  ye  noteuc  ic  ihuitimali,  tinahuatiloya 
ye  Xicalanco  o  anca  zacanco. 

7.  Ay  yanco  ay  yanco  ayamo  aya  ayhuiya  ayanco 
ayyanco  ayamo  aye  ahuiya  que  ye  mamaniz  mocha  mo- 
quiapana,  oquen  ye  mamaniz  moteuccallatic  ya  icno- 
cauhqui  nican  Tollan  Nonohualco  ya  y  ya  y  ya  o  ay. 

8.  In  ye  quinti  chocaya  teuctlon,  timalon  que  ye  mam- 
aniz mochan  (etc.  as  v.  7). 

9.  In  tetl,  in  quahuitl  o  on  timicuilotehuac  nachcan 
Tollan  y  inon  can  in  otontlatoco  Naxitl  Topiltzin  y  aye 
polihuiz  ye  motoca  ye  ic  ye  chocaz  in  momacehual  ay  yo. 


10.  Zan  can  xiuhcalliya  cohuacallaya  in  oticmatehuac 
nachcan  Tollan  y  inon  can  yn  otontlatoco  Naxitl 
Topiltzin  (etc.  as  in  v.  g). 


ANCIENT   NAHUATL    POEMS.  107 

6.  In  our  battles  my  lord  was  garlanded  with  feathers; 
we  were  commanded  to  go  alone  to  Xicalanco. 


7.  Alas !  and  alas !  who  will  be  in  thy  house  to  attire 
thee  ?  Who  will  be  the  ruler  in  thy  house,  left  desolate 
here  in  ToUan,  in  Nonohualco  ? 

8.  After  he  was  drunk,  the  ruler  wept ;  we  glorified 
ourselves  to  be  in  thy  dwelling. 

9.  Misfortune  and  misery  were  written  against  us  there 
in  Tollan,  that  our  leader  Nacxitl  Topiltzin  was  to  be 
destroyed  and  thy  subjects  made  to  weep. 

10.  We  have  left  the  turquoise  houses,  the  serpent 
houses  there  in  Tollan,  where  ruled  our  leader  Nacxitl 
Topiltzin. 


108  ANCIENT   NAHUATL   POEMS. 


XIX. 

Tico  toco  toco  ti  qttiti  quiti  qiiiti  qiiito  ;  can  ic  mocjicptiuh. 

1.  Tlapapal  xochiceutli  niyolaya  nepapan  tonacan 
xochitl  moyahuaya  oncueponti  moquetzaco  ya  naya  aya 
ye  teo  ya  ixpan  tonaa  Santa  Maria  ayyo. 

2.  An  ya  ya  cuicaya  zan  quetzala  xihuitl  tomolihui 
yan  aya  ye  nitlachihual  icelteotl  y  ye  Dios  aya  ni  itla- 
yocolaoya  yecoc  ya. 

3.  Zan  ca  tlaauilolpan  nemia  moyollo  amoxpetlatl 
ipan  toncuicaya  tiquimonyaitotia  teteuctin  aya  in  obispo 
ya  zan  ca  totatzin  aya  oncan  titlatoa  atlitempan  ay  yo. 

4.  Yehuan  Dios  mitzyocox  aya  xochitla  ya  mitztlaca- 
tilo  yancuicatl  mitzicuiloa  Santa  Maria  in  obispo  ya. 


ANCIENT   NAHUATL    POEMS.  109 


XIX. 

Tico,  toco,  toco,  tiquiti,  qiiiti,  quiti,  qiiito ;    tvhcre  it  is  to 
turn  back  again. 

1.  Resting  amid  parti-colored  flowers  I  rejoiced;  the 
many  shining  flowers  came  forth,  blossomed,  burst  forth 
in  honor  of  our  mother  Holy  Mary. 

2.  They  sang  as  the  beauteous  season  grew,  that  I  am 
but  a  creature  of  the  one  only  God,  a  work  of  his  hands 
that  he  has  made. 

3.  Mayst  thy  soul  walk  in  the  light,  mayst  thou  sing 
in  the  great  book,  mayst  thou  join  the  dance  of  the  rulers 
as  our  father  the  bishop  speaks  in  the  great  temple. 

4.  God  created  thee,  he  caused  thee  to  be  born  in  a 
flowery  place,  and  this  new  song  to  Holy  Mary  the 
bishop  wrote  for  thee. 


110  ANCIENT    NAHUATL    POEMS. 


XX. 

1.  Tolteca  icuilihuia  ahaa  ya  ha  on  tlantoc  amoxtli  ya 
moyollo  ya  on  aya  mochonaciticac  o  o  Toltecayootl  aic 
aya  ninemiz  ye  nican  ay  yo. 

2.  Ac  ya  nechcuiliz,  ac  ye  nohuan  oyaz  o,  nicaz  a  anni 
icuihuan  aya  y  yancuicanitl  y  yehetl  y  noxochiuh  non 
cuica  ihuitequi  onteixpan  ayyo. 

3.  Huey  in  tetl  nictequintomahuac  quahuitl,  nic- 
icuiloa  yancuicatl  itech  aya  oncan  nomitoz  in  quem- 
manian  in  can  Jiiyaz  nocuica  machio  nicyacauhtiaz  in 
tialticpac,  y  onnemiz  noyol  zan  ca  ye  nican  ya  hualla  y 
yancoya  nolnamicoca  nemiz  ye  noteyo  ay  yo. 

4.  Nichocaya  niquittoaya  nicnotza  noyollo  ma  niquitta 
cuicanelhuayotl  ayama  nicyatlalaquiya  ma  ya  ica  tial- 
ticpac quimman  mochihua  onnenemiz  noyol  y.  Zan  ca 
teucxochitl  ahuiaca  ipotocaticac  mocepanoayan  toxo- 
chiuh  ay  ye  ayao  ohuiy  on  can  quiya  itzmolini  ye  no- 
cuic  celia  notlatollaquillo  ohua  in  toxochiuh  icac  iqui- 
apani  ayao. 

5.  Tel  ca  cahua  xochitl  ahuiac  xeliuhtihuitz  a  ipoto- 
caya  in  ahuiyac  poyomatlin  pixahua  oncan  ninenenemi 
nicuicanitl  y  ye  aya  o  ohui  y  on  ca  quiya  itzmolini  ye 
nocuic  celia,  etc. 


ANCIENT   NAHUATL    POEMS.  Ill 


XX. 


1 


1.  The  Toltecs  have  been  taken,  alas,  the  book  of  their 
souls  has  come  to  an  end,  alas,  everything  of  the  Toltecs 
has  reached  its  conclusion,  no  longer  do  I  care  to  live 
here. 

2.  Who  will  take  me?  Who  will  go  with  me?  I  am 
ready  to  be  taken,  alas.  All  that  was  fresh,  the  perfume, 
my  flowers,  my  songs,  have  gone  along  with  them. 

3.  Great  is  my  affliction,  weighty  is  my  burden ;  I 
write  out  a  new  song  concerning  it,  that  some  time  I  may 
speak  it  there  where  I  shall  go,  a  song  to  be  known  when 
I  shall  leave  the  earth,  that  my  soul  shall  live  after  I 
have  gone  from  here,  that  my  fame  shall  live  fresh  in 
memory. 

4.  I  cried  aloud,  I  looked  about,  I  reflected  how  I 
might  see  the  root  of  song,  that  I  might  plant  it  here  on 
the  earth,  and  that  then  it  should  make  my  soul  to  live. 
The  sweet  exhalations  of  the  lovely  flowers  rose  up 
uniting  with  our  flowers ;  one  hears  them  growing  as  my 
song  buds  forth,  filled  with  my  words  our  flowers  stand 
upright  in  the  waters. 

5.  But  the  flowers  depart,  their  sweetness  is  divided 
and  exhales,  the  fragrant  poyomatl  rains  down  its  leaves 
where  I  the  poet  walk  in  sadness ;  one  hears  them 
growing,  etc. 


112  ANCIENT   NAHUATL    POEMS. 

XXI.     Huexotzincayotl. 

Viniendo  los  de  Hiiexotzinco  a  pedir  socorro  d  Moteuczoina 
Tlaxcalla. 

1.  Tlacuiloltzetzeliuhticac  moyoliol  tiMoteuczomatzi 
nichuicatihuitz  nictzetzelotihuitz  y  o  huetzcani  xochin- 
quetzalpapalotl  moquetzalizouhtihuitz  noconitotia  chal- 
chiuhatlaquiquizcopa  niyahueloncuica  chalchiuhhuila- 
capitzli  nicteocuitlapitza  ya  ho  ay  la  ya  o  haye  ohuichile 
amiyacale. 

2.  Ohuaya  ye  onniceelehuia  moxochiuh  aya  ipalne- 
moani  yehuaya  Dios  aya  ilihuaca  nahuiche  nictzetzeloaya 
noncuicatilo  yaha  y. 

3.  Tozmilini  xochitl  in  noyolyol  ay  yahue  tozmilini 
xochitl  noteponaz  ayanco  ayancayome  oncana  y  yahue 
nicxochiamoxtozimmanaya  itlatol  ayanco  ayanca  yomeho. 


4.  Xompaqui  xonahuia  annochipanicantiyazque  ye 
ichano  nohueyetzinteucth  Moteuczomatzi,  totlaneuh  tlpc 
totlaneuh  ueHc  xochitl  o  ayanco. 

5.  TIachinoltepec  yn  ahuicacopa  tixochitonameyo  timo- 
quetzaco  y  yehuan  Dios  a  ocelozacatl  ypan  quauhtli 
choca  ymopopoyauhtoc  y  yanco  y  liyan  cay  yahue  ayli 
y  yacalco  y  ya  y  yeho  zaca  y  yahue. 

6.  Ohuaya  yche  nipa  tlantinemia  ixpan  Dios  a  ninozo- 
zohuayatlauhquechoi,  zaquan  quetzal  in  tlayahualol  pa- 
palotl  mopilihuitzetzeloa  teixpana  xochiatlaquiquizcopa 
oh  tlatoca  ye  nocuic  y  yanco  ili,  etc. 


7.  Nehcoya  ompa  ye  nihuithuiya  xoxouhqui  hueyatla 
ymancan  zanniman  olini  pozoni  tetecuica  ic  nipa  tlania, 


ANCIENT    NAHUATL    POEMS.  113 


XXI.  A    Song  of  the  Huexotzincos,    Coming   to 
Ask  Aid  of  Montez7ima  Against  Tlaxcalla. 

1.  Raining  down  writings  for  thy  mind,  O  Montezuma, 
I  come  hither,  I  come  raining  them  down,  a  very  jester, 
a  painted  butterfly ;  stringing  together  pretty  objects,  I 
seem  to  be  as  one  cementing  together  precious  stones,  as 
I  chant  my  song  on  my  emerald  flute,  as  I  blow  on  my 
golden  flute,  ya  ho,  ay  la,  etc. 

2.  Yes,  I  shall  cause  thy  flowers  to  rejoice  the  Giver 
of  Life,  the  God  in  heaven,  as  hither  I  come  raining 
down  my  songs,  ya  ho. 

3.  A  sweet  voiced  flower  is  my  mind,  a  sweet  voiced 
flower  is  my  drum,  and  I  sing  the  words  of  this  flowery 
book, 

4.  Rejoice  and  be  glad  ye  who  live  amid  the  flowers 
in  the  house  of  my  great  lord  Montezuma,  we  must 
finish  with  this  earth,  we  must  finish  with  the  sweet 
flowers,  alas. 

5.  At  the  Mount  of  Battle  we  bring  forth  our  sweet 
and  glittering  flowers  before  God,  plants  having  the 
lustre  of  the  tiger,  like  the  cry  of  the  eagle,  leaving 
glorious  memory,  such  are  the  plants  in  this  house. 

6.  Alas!  in  a  little  while  there  is  an  end  before  God  to 
all  living ;  let  me  therefore  string  together  beauteous 
and  yellow  feathers,  and  mingling  them  with  the  dancing 
butterflies  rain  them  down  before  you,  scattering  the 
words  of  my  song  like  water  dashed  from  flowers. 

7.  I  would  that  I  could  go  there  where  lies  the  great 
blue  water  surging,  and  smoking  and  thundering,  till  after 
a  time  it  retires  again :    I  shall  sing  as  the  quetzal,  the 


114  ANCIENT    NAHUATL    POEMS. 

zan  iquetzal  in  tototl  xiuhquechol  tototl  no  chiuhtihuitz  y 
ni  yahuinac  ya  Huexotzinco  Atzalan  ayome. 

8.  Zan  niquintocaz  aya  niquimiximatitiuh  nohueyo- 
tzitzinhuan  chalchiuhquechol  y  canca  xiuhquechol  in 
teocuitlapapalotl  in  cozcatototl  ontlapia  ye  onca  Hue- 
xotzinco Atzalan  ayame ; 

9.  Xochi  Atzalaan  teocuitlaatl  chalchiuhatl  y  nepa- 
niuhyan  itiatoaya  in  quetzalcanauhtli  quetzalnocuitlapilli 
cuecueyahuaya  yliya  yliya  yaho  ayli  yaho  aye  huichile 
anicale. 

10.  Huecapan  nicac  nicuicanitl  huiya  zaquan  petlatolini, 
ma  nica  yeninemia  nicyeyectian  cuicatla  in  nic  xochiotia 
yayaho  yahii. 


I 


ANCIENT    NAHUATL    POEMS.  115 

blue  quechol,  when  I  go  back  to  Huexotzinco  among 
the  waters  [or,  and  Atzalan). 

8.  I  shall  follow  them,  I  shall  know  them,  my  beloved 
Huexotzincos;  the  emerald  quechol  birds,  the  green 
quechol,  the  golden  butterflies,  and  yellow  birds,  guard 
Huexotzinco  among  the  waters  {or,  and  Atzalan). 

9.  Among  the  flowery  waters,  the  golden  waters,  the 
emerald  waters,  at  the  junction  of  the  waters  which  the 
blue  duck  rules  moving  her  spangled  tail. 


10.  I  the  singer  stand  on  high  on  the  yellow  rushes; 
let  me  g-o  forth  with  noble  song-s  and  laden  with  flowers. 


116  ANCIENT    NAHUATL    POEMS. 


XXIL 

Tico  tico  ticoti  tico  tico  ticoti  mill  ic  ojitlantiuh  in  cuicatl 
totoco  totoco. 

I.  Xichocayan  nicuicanitl  nicitta  noxochiuh  zan  nomac 
ommania  zan  quihuintiaye  noyollo  ni  cuicatl  aya  nohuian 
nemia,  zan  ca  ye  noyollo  notlayocola  in  cayo. 


2.  Xiuhtlamatelolla  quetzalchalchiuhtla  ipan  ye  nic- 
matia  nocuic  aya  ma  yectlaxochitl  y,  zan  nomac  ton 
mania,  etc. 

3.  In  quetzalin  chalchiuhtla  ipan  ye  nicmatia  yectli  ye 
nocuic  yectli  noxochiuh  annicuihuan  tepilhuan  aya 
xonahuiacan  a  ayac  onnemiz  o  in  tlalticpac  ayo. 

4.  O  an  niquitquiz  ye  niaz  yectli  nocuic  yectli  noxo- 
chiuhui  annicuihuan  tepilhuan  aya. 

5.  O  huayanco  o  nichocaya  a  huayanco  o  cahua  y 
yahue  nictzetzelo  xochitl  ay  yo. 

6.  Mach  nohuan  tonyaz  quennonamica  o  ah  nicitquiz 
xochitl  zan  nicuicanitl  huiya  ma  yo  a  xonahuiyacan  to  ya 
nemia  ticaqui  ye  nocuic  ahuaya. 

7.  Ay  ca  nichocaya  nicuicanitl  ya  icha  ahuicaloyan 
cuicatl  ha  Mictlan  temohuiloya  yectliya  xochitl  onca  ya 
oncaa  y  yao  ohuayan  ca  ya  ilaca  tziuhan  ca  na  y  yo. 

8.  Amo  nequimilool  amo  neccuiltonol  antepilhuan 
aychaa  ohuicaloyan  cuicatl. 


ANCIENT    NAHUATL    POEMS.  117 


XXII. 

Tico,  tico,  ticoti,  tico,  tico,  ticoti,  and  then  the  song  ends 
with  totoeo,  totoco. 

1.  In  the  place  of  tears  I  the  singer  watch  my  flowers; 
they  are  in  my  hand;  they  intoxicate  my  soul  and  my 
song,  as  I  walk  alone  with  them,  with  my  sad  soul  among 
them. 

2.  In  this  spot,  where  the  herbage  is  like  sweet  oint- 
ment and  green  as  the  turquoise  and  emerald,  I  think 
upon  my  song,  holding  the  beauteous  flowers  in  my 
hand,  etc.  (as  in  v.  i). 

3.  In  this  spot  of  turquoise  and  emerald,  I  think  upon 
beauteous  songs,  beauteous  flowers ;  let  us  rejoice  now, 
dear  friends  and  children,  for  life  is  not  long  upon  earth. 

4.  I  shall  hasten  forth,  I  shall  go  to  the  sweet  songs, 
the  sweet  flowers,  dear  friends  and  children. 

5.  O  he!  I  cried  aloud;  O  he!  I  rained  down  flowers 
as  I  left. 

6.  Let  us  go  forth  anywhere ;  I  the  singer  shall  find 
and  bring  forth  the  flowers;  let  us  be  glad  while  we  live; 
listen  to  my  song. 

7.  I  the  poet  cry  out  a  song  for  a  place  of  joy,  a 
glorious  song  which  descends  to  Mictlan,  and  there  turns 
about  and  comes  forth  again. 

8.  I  seek  neither  vestment  nor  riches,  O  children,  but 
a  song  for  a  place  of  joy. 


118  ANCIENT    NAHUATL    POEMS. 

XXIII.   Ycuic  NezaJmalcoyotzm. 

Totoco  totoco  tico,  totoco  totoco  ic  ontlantiuh  tico  titico  ti  tico 
tico. 

I.  Nicaya  quetza  con  tohuehueuh  aoniquimitotia 
quauhtlocelo  yn  ca  tiyayhcac  in  cuicaxochitl,  nictemoan 
cuicatl  ye  tonequimilol  ayyo. 


2.  Ti  Nopiltzi  o  ti  Nezahualcoyotl  o  tiya  jMictl  a  quen- 
onamica  y  yece  miyoncan  ay  yo. 

3.  Quiyon  quiyon  caya  nichocaya  ya  ni  Nezahual- 
coyotl huiya  queni  yeno  yaz  o  ya  nipolihuiz  oyamiquitla 
ye  nimitzcahua  noteouh  ypalnemo  o  tinechnahuatia  ye 
niaz  nipolihuiz  aya,  yo. 

4.  Ouenon  maniz  tlallin  Acolihuacan  huiya  cuixoca 
quen  mano  o  ticmomoyahuaz  in  momacehuah  ye  nimitz- 
cahua noteouh,  etc. 

5.  Can  yio  cuicatli  tonequimilol  quipoloaya  a  in 
totlacuiloli  tepilhuan  00  maya  o  huitihua  nican  aya  ayac 
ichan  tlalticpac  00  ticyacencahuazque  huelic  ye  xochitl 
ayio. 


6.  O  ayac  quitlamitaz  monecuiltonol  ypalnemoa  a 
noyolquimati  cuelachic  otictlanehuico  Nezahualcoyotzin 
ay  oppatihua  nican  anaya  y  chan  tlpc.  Oon  yn  ay 
oppatihuain  tlalticpacqui,  zan  nicuicanitl  ayaho  onnicho- 
caya  niquelnamiqui  Nezahualcoj^otl  aya  ho. 

7.  Xo  acico  ye  nican  in  teotl  aya  ypalnemoa,  ayaho 
on  nichocaya  a  niquelnamiqui  Nezalhuacoyotl  ayio. 


ANCIENT    NAHUATL    POEMS.  119 

XXIII.    Scmo-s  of  the  Prince  Nezahualcoyotl. 

Totoco,  totoco,  tico,  totoco  totoco,  then  it  ends  zvith  tico  titico, 
titico,  tico. 

1.  I  bring  forth  our  drum  that  I  may  show  the  power 
and  the  grandeur  in  which  thou  standest,  decked  with 
flowers  of  song :  I  seek  a  song  wherewith  to  drape  thee, 
ah!  oh! 

2.  Thou,  my  Lord,  O  thou  Nezahualcoyotl,  thou 
goest  to  Mictlan  in  some  manner  and  at  a  fixed  time,  ere 
long. 

3.  For  this,  for  this,  I  weep,  I  Nezahualcoyotl,  inas- 
much as  I  am  to  go,  I  am  to  be  lost  in  death,  I  must 
leave  thee  ;  my  God,  the  Giver  of  Life,  thou  commandest 
me,  that  I  go  forth,  that  I  be  lost,  alas. 

4.  How  shall  the  land  of  Acolhuacan  remain,  alas  ? 
How  shall  we,  thy  servants,  spread  abroad  its  fame  ?  I 
must  leave  thee ;  my  God,  etc. 

5.  Even  this  song  for  thy  draping  may  perish,  which 
we  have  written  for  our  children,  it  will  no  longer  have 
a  home  here  on  earth  when  we  shall  wholly  leave  these 
fragrant  flowers. 

6.  Alas!  thy  riches  shall  end;  the  Giver  of  Life  teaches 
me  that  but  for  a  little  while  do  we  enjoy  the  prince 
Nezahualcoyotl,  nor  a  second  time  will  he  come  to  his 
house  on  earth ;  no  second  time  will  he  rejoice  on  earth; 
but  I  the  singer  grieve,  recalling  to  memory  Nezahual- 
coyotl. 

7.  Let  us  seek  while  here  the  god,  the  Giver  of  Life ; 
I  grieve,  recalling  to  memory  Nezahualcoyotl, 


120  ANXIENT    NAHUATL    POEMS. 


XXIV. 

Quititi,    quititi,    quid  tocoto,    tocoti    tocoto    tocoti    zan    ic 
vwaicptiiih. 

1.  Ma  xochicuicoya  ma  ichtoa  nichuana  ayyahue 
teyhuinti  xochitl  ao  ya  noyehcoc  ye  nica  poyoma 
xahuallan  timaliuhtihuitz  ay  yo. 

2.  Ma  xochitl  oyecoc  ye  nican  ayyahue  ^an  tlaahui- 
xochitla  moyahuaya  motzetzeloa  ancazo  yehuatl  in  nepa- 
paxochitl  ayyo.     Zan  commoni  huehuetl  ma  ya  netotilo. 


3.  Yn  quetzal  poyomatl  aye  ihcuilihuic  noyol  nicui- 
canitl  in  xochitl  ayan  tzetzelihui  ya  ancuel  ni  cuiya  ma 
xonahuacan  ayio  zan  noyolitic  ontlapanion  cuicaxochitl 
nicyamoyahuaya  yxoochitla. 

4.  Cuicatl  ya  ninoquinilotehuaz  in  quemmanian  xochi- 
neneliuhtiaz  noyollo  yehuan  tepilhuan  oonteteuctin  in  ca 
yio. 

5.  Zan  ye  ic  nichoca  in  quemanian  zan  nicaya  ihtoa 
noxochiteyo  nocuicatoca  nictlalitehuaz  in  quemanian 
xochineneliuhtiaz,  etc. 


ANCIENT    NAHUATL    POEMS.  121 


XXIV. 

Qitititi,  qidiiti,  quiti  tocoto,  tocoti,  tocoto,  tocoti,  then  it  is  to 
turn  back  again. 

1.  Let  me  pluck  flowers,  let  me  see  them,  let  me 
gather  the  really  intoxicating  flowers ;  the  flowers  are 
ready,  many  colored,  varied  in  hue,  for  our  enjoyment. 

2.  The  flowers  are  ready  here  in  this  retired  spot,  this 
spot  of  fragrant  flowers,  many  sorts  of  flowers  are  poured 
down  and  scattered  about ;  let  the  drum  be  ready  for  the 
dance. 

3.  I  the  singer  take  and  pour  down  before  you  from 
my  soul  the  beautiful  poyomatl,  not  to  be  painted,  and 
other  flowers ;  let  us  rejoice,  while  I  alone  within  my 
soul  disclose  the  songs  of  flowers,  and  scatter  them  abroad 
in  the  place  of  flowers. 

4.  I  shall  leave  my  songs  in  order  that  sometime  I 
may  mingle  the  flowers  of  my  heart  with  the  children 
and  the  nobles. 

5.  I  weep  sometimes  as  I  see  that  I  must  leave  the 
earth  and  my  flowers  and  songs,  that  sometime  these 
flowers  will  be  vain  and  useless. 


122  ANCIENT    NAHUATL   POEMS. 


XXV. 

Tico  toco  tocoto  ic  ontlantiuJi  ticoto  ticoto. 

1.  Toztliyan  quechol  nipa  tlantinemia  in  tlallaicpac 
oquihuinti  ye  noyol  ahua  y  ya  i. 

2.  Ni  quetzaltototl  niyecoya  ye  iquiapan  ycelteotl 
yxochiticpac  nihueloncuica  oo  nicuicaihtoa  paqui  ye 
noyol  ahuay. 

3.  Xochiatl  in  pozontimania  in  tlallaicpac  oquihuinti 
ye  noyol  ahua. 

4.  Ninochoquilia  niquinotlamati  ayac  in  chan  00 
tlallicpac  ahua. 

5.  Zan  niquittoaya  ye  ni  Mexicatl  mani  ya  huiya 
nohtlatoca  tequantepec  ni  yahui  polihuin  chittepehua  a 
ya  ye  choca  in  tequantepehua  o  huaye. 

6.  Ma  ca  qualania  nohueyotehua  Mexicatli  polihui 
chile. 

7.  Citlalin  in  popocaya  ipan  ye  moteca  y  za  ye  polihui 
a  zan  ye  xochitecatl  ohuaye. 

8.  Zan  ye  chocaya  amaxtecatl  aya  caye  chocaya 
tequantepehua. 


ANCIENT   NAHUATL   POEMS.  123 


I 


XXV. 

Tico,  toco,  tocoto,  and  then  it  ends,  ticoto,  ticoto. 

1.  The  sweet  voiced  quechol  there,  ruhng  the  earth, 
has  intoxicated  my  soul. 

2.  I  am  hke  the  quetzal  bird,  I  am  created  in  the  house 
of  the  one  only  God ;  I  sing  sweet  songs  among  the 
flowers ;  I  chant  songs  and  rejoice  in  my  heart. 

3.  The  fuming  dew-drops  from  the  flowers  in  the  field 
intoxicate  my  soul. 

4.  I  grieve  to  myself  that  ever  this  dwelling  on  earth 
should  end. 

5.  I  foresaw,  being  a  Mexican,  that  our  rule  began  to 
be  destroyed,  I  went  forth  weeping  that  it  was  to  bow 
down  and  be  destroyed. 

6.  Let  me  not  be  angry  that  the  grandeur  o^"  Mexico 
is  to  be  destroyed, 

7.  The  smoking  stars  gather  together  against  it :  the 
one  who  cares  for  flowers  is  about  to  be  destroyed. 

8.  He  who  cared  for  books  wept,  he  wept  for  the  begin- 
ning of  the  destruction. 


124  ANCIENT   NAHUATL   POEMS. 


XXVI. 

Toto  tiquiti  tiquiti  ic  ontlantmli  tocotico  tocoti  toto  titiqiii 
toto  titiqiiiti. 

1.  Oya  moquetz  huel  oon  ma  on  netotilo  teteuctin  aya 
ma  onnetlanehuihuilo  chalchihuitl  on  quetzal!  patlahuac, 
ayac  ichan  tlalticpac,  ayio  zan  nomac  onmania  ooo  y 
xochiuh  aya  ipalnemoa  ma  onnetlanehuilo  chalchihuitl. 

2.  Oyohual  in  colinia  o  on  In  icelteotl  ipalnemaa 
Anahuac  o  onnemia  noyol  ayio. 

3.  In  yancuica  oncan  quixima  ipalnemoani  ca  ye 
Nonoalco  ahuilizapan  i  in  teuctli  yehua  Nezahualpilli  y 
yece  ye  oncan  aya  in  tlacoch  tenanpan  Atlixco  ayio. 

4.  Zan  momac  otitemic  motlahuan  zomal  a  ica  tica- 
huiltia  icelteotl  in  teuctli  yehua. 

5.  Y  yeho  aye  icnotlamati  noyollo,  zan  niNonoalcatl, 
zan  can  nicolintototl  o  nocamapan  aya  Mexicatl  in  ca 
yio. 

6.  On  quetzal  pipixauhtoc  motlachinolxochiuh  in 
ipalnemoa  zan  ca  nicolintototl,  etc. 


ANCIENT   NAHUATL    POEMS.  125 


XXVI. 

Toto  tiquiti  tiqniti,  then  it  ends  tocotico,  tocoti  toto  titiqui 
toto  iitiqidti, 

1.  Come  forth  to  the  dance,  ye  lords,  let  there  be 
abundance  of  turquoise  and  feathers ;  our  dwelling  on 
earth  is  not  for  long  ;  only  let  the  gods  give  me  flowers 
to  my  hand,  give  me  abundance  of  turquoises. 

2.  Come  let  us  move  in  the  dance  in  honor  of  the  one 
only  god,  the  Giver  of  Life,  while  my  soul  lives  by  the 
waters  [or,  in  Anahuac). 

3.  The  Giver  of  Life  made  known  a  new  song  after  the 
lord  Nezahualpilli  entered  the  strongholds  of  Nonoalco 
and  sped  his  arrows  within  the  walls  of  Atlixco. 

4.  Thou  hast  filled  thy  plate  and  thy  cup  in  thy  hands 
and  hast  rejoiced  in  the  one  only  God,  the  Lord. 

5.  Alas,  how  I  am  afflicted  in  my  soul,  I,  a  resident  of 
Nonoalco;  I  am  like  a  wild  bird,  my  face  is  that  of  a 
Mexican. 

6.  The  beauteous  flowers  of  thy  battles  lie  abundantly 
snowed  down,  O  Giver  of  Life;  I  am  like  a  wild  bird, 
etc. 


126  ANCIENT   NAHUATL    POEMS. 


XXVII. 

Toco  toco  tiqid  tiqui  ic  ontlant'mli  toco  tico  tocoti. 

1.  Ma  ya  pehualo  ya  nicuihua  in  ma  ya  on  acico  ye 
nicaan  aya  oya  yecoc  yeliuan  Dios  in  cayio  in  ma  ya  ca 
ya  onahuilihuan  tepilhuan  a  ayamo  acico  ya  yehuan 
Dios  oncan  titemoc  yeliuan  Dios  a  oncan  huel  in  oncan 
tlacat  y  ye  Yesu  Cristo  in  ca  yio. 

2.  In  oncan  tlahuizcalli  milintimani  mochan  aya  moxo- 
chiuhaya  Dios  aya  chalchiuhcueponi  maquiztzetzelihui 
onnetlamaclitiloya  in  ca  yio  in  oncan  ya  o  nepapan 
izhuayo  moxochiuh  aya  Dios  a. 

3.  Zan  ye  xochitl  moyahua  00  zan  ca  itlatol  in 
ipalnemoani  o  ontepan  ye  moteca  anahuac  ooica  tic- 
huelmana  atl  on  yan  tepetl  ayio. 

4.  Zan  temomac  mania  cemilhuitl  in  niman  ye  tehuatl 
toconyaittoaya  ipalnemoani. 


ANCIENT   NAHUATL   POEMS.  127 


XXVII. 

Toco,  toco,  iiqiii,  tiqui,  and  then  it  ends  toco,  tico,  tocoti. 

1.  Let  my  song  be  begun,  let  it  spread  abroad  from 
here  as  far  as  God  has  created ;  may  the  children  be 
glad,  may  it  reach  to  God,  there  to  God  whom  we  seek, 
there  where  is  Jesus  Christ  who  was  born. 

2.  There  the  dawn  spreads  widely  over  the  fields,  over 
thy  house,  and  thy  flowers,  O  God,  blossom  beauteous  as 
emeralds ;  they  rain  down  in  wondrous  showers,  in  that 
place  of  happiness;  there  alone  may  my  flowers,  of 
various  leaves,  be  found,  O  God. 

3.  There  the  flowers  are  the  words  of  the  Giver  of  Life; 
they  are  upon  the  mountains  and  by  the  waters;  we  find 
them  alike  by  the  water  and  the  mountain. 

4.  Our  day  is  in  thy  hand,  and  soon  we  shall  see  thee, 
thou  Giver  of  Life. 


I 


NOTES. 

SONG  I. 

The  song  is  an  allegor>',  portraying  the  soul-life  of  the  poet. 
By  the  flowers  which  he  sets  forth  to  seek,  we  are  to  understand 
the  songs  which  he  desires  to  compose.  He  asks  himself  where 
the  poetic  inspiration  is  to  be  sought,  and  the  answer  is  the  same 
as  was  given  by  Wordsworth,  that  it  is  to  the  grand  and  beautiful 
scenes  of  Nature  that  the  poet  must  turn  for  the  elevation  of 
soul  which  will  lift  him  to  the  sublimest  heights  of  his  art.  But 
this  exaltation  bears  with  it  the  heavy  penalty  that  it  disquali- 
fies for  ordinary  joys.  As  in  medieval  tales,  he  who  had  once 
been  admitted  to  fairyland,  could  nevermore  conquer  his  long- 
ing to  return  thither,  so  the  poet  longs  for  some  other  condition 
of  existence  where  the  divine  spirit  of  song  may  forever  lift  him 
above  the  trials  and  the  littleness  of  this  earthly  life. 

There  is  no  sign  of  Christian  influence  in  the  poem,  and  it  is 
probably  one  handed  down  from  a  generation  anterior  to  the 
Conquest. 

I.  The  word  peuhcayotl  (rom  peiia,  to  begin,  intimates  that  this 
was  a  song  chanted  at  the  beginning  of  a  musical  entertainment. 
The  verses  are  longer,  and  the  phraseology  plainer  than  in  many 
of  those  following.  There  is  also  an  absence  of  interjections  and 
lengthened  vowels,  all  of  which  indicate  that  the  time  was 
slow,  and  the  actions  of  the  singer  temperate,  as  was  the  custom 
at  the  beginning  of  a  baile.     (See  Introd.,  p.  20.) 

I.  Ninoyolnotiotza^  a  reflexive,  frequentative  form  from  notza, 
to  think,  to  reflect,  itself  from  the  primitive  radicle  110,  mind, 
common  to  both  the  Nahuatl  and  Maya  languages.  The  syllable 
yol  is  for  yollotl,  heart,  in  its  figurative  sense  of  soul  or  mind. 
The  combination  oi  yolno7iotza  is  not  found  in  any  of  the  diction- 
aries.    The  full  sense  is,  "  I  am  thinking  by  myself,  in  my  heart." 

ahuiaca,  an  adverbial  form,  usually  means  "  pleasant-smelling," 
though  in  derivation  it  is  from  the  verb  ahuia,  to  be  satisfied  with. 

quetzal,  for  quetzalli,  a  long,  handsome  blue  feather  from  the 
quetzal  bird,  often  used  figuratively  for  anything  beautiful  or 
precious. 

129 


130  NOTES. 

chalchinh  for  chalchiuitl,  the  famous  green-stone,  jade  or  em- 
erald, so  highly  prized  by  the  Mexicans  ;  often  used  figuratively 
for  anything  noble,  beautiful  and  esteemed. 

htdtzitzicatin,  a  word  not  found  in  the  dictionaries,  appears  to 
be  from  tziiziica,  to  tremble,  usually  from  cold,  but  here  applied 
to  the  tremulous  motion  of  the  humming  bird  as  it  hovers  over  a 
flower. 

zacuan,  the  yellow  plumage  of  the  zacuan  bird,  and  from  simi- 
larity of  color  here  applied  to  the  butterfly.  The  zacuan  is 
known  to  ornithologists  as  the  Oriolus  dominicensis.  These 
birds  are  remarkably  gregarious,  sometimes  as  many  as  a  hun- 
dred nests  being  found  in  one  tree  (see  Eduard  Muhlenpfort, 
Versuch  ehier  getreuen  Schilderimg  der  Republik  Blexiko,  Bd.  I, 
p.  183). 

acxoyatzinitzcanquauhtia ;  composed  of  acxoyatl,  the  wild 
laurel ;  tzitiifzcan,  the  native  name  of  the  Trogon  mexicanus, 
renowned  for  its  beautiful  plumage;  guauhtli,  a  tree;  and  the 
place-ending  //a,  meaning  abundance. 

tlauquecJiolxochiquatthtla  ;  composed  of  tlauqiiechol ,  the  native 
name  of  the  red,  spoon-billed  heron,  Platalea  ajaja;  xochiil, 
flower  ;  qiiaiihtli,  tree  ;  and  the  place-ending  tla. 

tonameyotoc,  the  root  is  the  verb  totia,  to  shine,  to  be  warm  ; 
tonatiuh,  the  sun ;  tonameyotl,  a  ray  of  the  sun,  etc.  As  warmth 
and  sunlight  are  the  conditions  of  growth  and  fertility,  many 
derivatives  from  this  root  signify  abundance,  riches,  etc. 

mocehcemelquixtia  ;  wo  is  the  reflexive  pronoun,  3d  sing.,  often 
used  impersonally ;  cehcemel,  is  a  reduplicated  form  of  the  nu- 
meral ce,  one ;  it  conveys  the  sense  of  entire,  whole,  perfect,  and 
is  thus  an  interesting  illustration  of  the  tendency  of  the  untu- 
tored mind  to  associate  the  idea  of  unity  with  the  notion  of  per- 
fection ;  quixtia  is  the  compulsive  form  oi  qiiiza,  to  go  forth. 

onechittitique  ;  3d  person  plural,  preterit,  of  the  causative  form 
of  itta,  to  see  ;  ittitia,  to  cause  to  see,  to  show  ;  nech,  me,  accusa- 
tive form  of  the  pronoun. 

noniexanco ;  from  cucxantli,  the  loose  gown  worn  by  the 
natives,  extending  from  the  waist  to  the  knees.  Articles  were 
carried  in  it  as  in  an  apron ;  7io-cuexan-co,  my-gown-in,  the  ter- 
minal ///being  dropped  on  suffixing  the  postposition. 

tepilhuan  ;  ixompilli,  boy,  girl,  child,  young  person,  with  the  rel- 
ative, indefinite,  pronominal  prefix  te,  and  the  pronominal  plural 
termination /rwaw,  to  take  which,  pilli  drops  its  last  syllable,/// 


NOTES.  131 

hence,  te-pil-hiian,  somebody's  children,  or  in  general,  the  young 
people.     This  word  is  of  constant  occurrence  in  the  songs. 

tetenctin,  plural  with  reduplication  of  tetictli,  a  noble,  a  ruler, 
a  lord.  The  singer  addresses  his  audience  by  this  respectful 
title. 

2.  ixochiciiicatzini ;  i,'poss.Tpron.2,ds\ng.\  xochitl,^ovj&r\  cui- 
caii,  song ;  tzin,  termination  signifying  reverence  or  affection  ; 
"  their  dear  flower-songs." 

yuhqui  tepetl,  etc.  The  echo  in  the  Nahuatl  tongue  is  called 
tepeyolotl^  the  heart  or  soul  of  the  mountain  (not  in  Simeon's  Dic- 
tionnaire,  but  given  by  Tezozomoc,  Cronica  Mexicana,  p.  202). 

vieyaqiietzalatl;  from  meya,  to  flow  slowly,  to  trickle  ;  quetzalli, 
beautiful ;  atl,  water. 

xiuhtotoameyalli ;  the  root  xiuh  meant  originally  green  (or 
blue,  as  they  were  not  distinguished  apart)  ;  hence  xiuiil,  a  leaf 
or  plant,  the  green  herbage ;  as  where  the  Nahuas  then  were  this 
was  renewed  annually,  xiuitl  came  to  mean  a  year  ;  as  a  comet 
seems  to  have  a  bunch  of  fiery  flames  growing  from  it,  this  too  was 
xiuitl,  and  a  turquoise  was  called  by  the  same  term ;  in  the 
present  compound,  it  is  employed  adjectively ;  xiuh-totol,  tur- 
quoise-bird, is  the  Guiaca  cerulea,  Linn.  ;  anieyalli,  from  atl, 
water,  ineya,  to  trickle,  and  the  noun  ending. 

mo-motla;  to  throw  one's  self,  to  dash  one's  self  against  some- 
thing, etc. 

centzontlatolli ;  literally,"  four  hundred  speeches."  The  nu- 
meral four  hundred  was  employed,  like  the  Greek  "  myriad,"  to 
express  vaguely  any  extraordinary  number.  .  The  term  may  be 
rendered  "the  myriad-voiced,"  and  was  the  common  name  of 
the  mocking-bird,  called  by  ornithologists  Turdus  polygloittis, 
Ca/audria  polyglotta,  and  Miinus  polyglotta. 

coyoltototi,  literally,  "  the  rattle-bird,"  so  called  from  its  peculiar 
notes  {coyolli^  a  rattle),  is  one  of  the  Tanegridae,  probably  the 
Piranga  hepatic  a. 

ayacachicahuacti)nani' ;  composed  of  ayacachtli,  the  rattle  (see 
ante,  page  24)  ;  and  icahuaca,  to  sing  (of  birds)  ;  to  the  theme  of 
this  verb  is  added  the  connective  syllable  ti,  and  the  verb  mani, 
which,  in  such  connection,  indicates  that  the  action  of  the  former 
verb  is  expended  over  a  large  surface,  broadly  and  widely  (see 
Olmos,  Gram,  de  la  Langue  Nahuatl,  p.  155,  where,  however,  the 
connective  ti  is  erroneously  taken  for  the  pronoun  //). 

hueltetozcatemique  ;  composed  of  huel,  good  or  well ;  tetozca, 


132  NOTES. 

from  tozquitl,  the  singing  voice  ;   and  tenio,  to  let  fall,  to  drop  ; 
que  is  the  plural  verbal  termination. 

3.  ma  fi-amech-ellelti,  vetative  causative  from  elleloa,  to  cause 
pain. 

cactiniotlaliqiie,  appears  to  be  a  compound  of  caqui,  to  listen, 
to  hear,  and  tlalia,  to  seat,  to  place. 

aniohuanipofzitzinhiian,  a  compound  based  on  the  pronoun  of 
the  second  person  plural,  a}no,  the  particle />c,  which  means  simi- 
larity or  likeness,  and  the  reduplicated  reverential  plural  termina- 
tion. The  same  particle /o,  appears  a  few  lines  later  in  toqiiichpo- 
huan  ;  potli  =  comrade,  compeer. 

4.  Tepeilic,  from  tepell,  mountain,  ititl,  belly,  from  which  is  de- 
rived the  proposition  itic,  within,  among.  The  term  is  applied  to 
a  ravine  or  sequestered  valley. 

5.  quauhtliya  oceloti,  the  expression  quauhtli,  oceloti,  is  of  fre- 
quent occurrence  in  the  ancient  Nahuatl  writers.  The  words 
mean  literally  "  eagle,  tiger."  These  were  military  titles  applied 
to  officers  commanding  small  bodies  of  troops  ;  figuratively, 
the  words  mean  control,  power,  and  dignity ;  also,  bravery 
and  virtue.  Comp.  Agustin  de  Vetancurt,  Teatro  Mexicano, 
Tratado  II,  cap.  3. 

6.  in  tloqne  in  nahicaque  ;  this  expression,  applied  by  the  ancient 
Nahuas  to  the  highest  divinity,  is  attributed  by  some  to  Nezahu- 
alcoyotl  (see  above,  p.  36).  It  is  composed  of  two  postpositions 
i/oc  and  nafmac,  and  in  the  form  given  conveys  the  meaning  "  to 
whom  are  present  and  in  whom  are  immanent  all  things  having 
life."  See  Agustin  de  la  Rosa,  Analisis  de  la  Platica  Mexicana 
sobre  el  Misterio  de  la  Santisinia  Trinidad,  p.  11  (Guadalajara, 
1871).  The  epithet  was  applied  in  heathen  times  to  the  supreme 
divinity  Tonacateotl ;  see  the  Codex  Tellenatio-Retncnsis,  in 
Kingsborough's  Mexico,  Vol.  VI,  p.  107. 

8.  ximoayan  ;  this  word  does  not  appear  in  the  dictionaries  of 
Molina  or  Simeon,  and  is  a  proof,  as  is  the  sentiment  of  the 
whole  verse,  that  the  present  poem  belongs  to  a  period  previous 
to  the  Conquest.  The  term  means  "  where  all  go  to  stay,"  and 
was  the  name  of  the  principal  realm  of  departed  souls  in  the 
mythology  of  the  ancient  Nahuas.  See  Bartholome  de  Alva, 
Confessionario  en  Lengua  Mexicana,  fol.  13  (Mexico,  1634) ;  Tez- 
ozomoc,  Cronica  A/exicaua,  cap.  55;  D.  G.  Brinton  ;  The  Jotirney 
of  the  Soul  (in  Aztec  and  Aryan  Myths),  Philadelphia,  1883. 

yhuiniia,  causative  form  of  ihiiinli,  to  make  drunk.      The  Nir- 


NOTES.  133 

vana  of  the  Nahuas  was  for  the  soul  to  He  in  dense  smoke  and 
darkness,  filled  with  utter  content,  and  free  from  all  impressions 
("  en  lo  profundo  de  contento  y  obscuridad,"Tezozomoc,  Cronica 
Mexicana,  cap.  55). 


II. 

On  the  signification  of  the  titles  given  to  this  poem  see  the  In- 
troduction, I  3. 

1.  yc/iuan  Dios  ;  literally  "  who  are  God  ;  "  the  introduction  of 
the  Spanish  Dios,  God,  is  in  explanation  of /«  tloque  m  nahiiaqiie  ; 
so  far  from  proving  that  this  song  is  of  late  date,  this  vouches 
for  its  genuine  ancient  character,  through  the  necessity  for  such 
explanation. 

2.  nelhuayotl,  the  essence  or  source  of  something,  its  true 
nature  ;  probably  from  nelli,  true. 

teoquechobne ;  the  prefix  teoti,  divine,  is  often  added  as  an  ex- 
pression of  admiration.  Sahagun  mentions  the  teoqiiechol  as  a 
bird  of  brilliant  plumage. 


III. 

The  poet  recalls  a  recent  attendance  on  the  obsequies  of  an 
acquaintance,  and  seeks  to  divert  his  mind  from  the  gloomy  con- 
templation of  death  and  the  ephemeral  character  of  mortal  joys 
by  urging  his  friend  to  join  in  the  pleasure  of  the  hour,  and  by 
suggesting  the  probability  of  an  after  life. 

I.  xochicaico ;  compounded  oi  xochitl,  flower  ;  calli,  house ;  and 
the  postposition,  co.  The  term  was  applied  to  any  room 
decorated  with  flowers ;  here,  to  the  mortuary  chamber,  which 
Tezozomoc  tells  us  was  decked  with  roses  and  brilliant  feathers. 

ipalnemohiiani,  literally  "the  one  by  whom  life  exists."  The 
composition  is  /,  possessive  pronoun,  third  person,  singular  ; 
pal,  postposition,  by ;  nemoani,  singular  of  the  present  in  ni  of 
the  impersonal  form  of  the  verb  «<?;«/,  to  live,  with  the  meaning 
to  do  habitually  that  which  the  verb  expresses.  It  is  an  ancient 
epithet  applied  to  the  highest  divinity,  and  is  found  in  the  Codex 
Telleriatw-Reniensis,  Kingsborough's  Mexico,  Vol.  VI,  p.  128, 
note. 

tolquatectitlan,  from  toloa,  to  lower,  to  bow  ;  quatequia,  to  im- 
merse the  head  ;  tlaii,  place  ending.     In  the  ancient  funeral  cere- 


134  NOTES. 

monies  the  faces  of  the  assistants  were  laved  with  holy  water. 
On  this  rite  see  the  note  of  Orozco  y  Berra  to  his  edition  of  the 
Cronica  Mexicana  of  Tezozomoc,  p.  435  (Mexico,  1878). 

xoyacaltitlan  ;  from  xoyaiii,  to  spoil,  to  decay,  whence  xoyanh- 
gui,  rank,  unpleasant,  like  the  odor  of  decaying  substances. 

xochicopal  tlenauiactli,  "the  incense  of  sweet  copal,"  which 
was  burned  in  the  funeral  chamber  (see  Tezozomoc's  description 
of  the  obsequies  of  Axayaca,  Cron.  J/ex.,  cap.  55). 

2.  The  translation  of  this  verse  offers  some  special  difficulties. 


IV. 

A  poem  of  unusually  rich  metaphors  is  presented,  with  the 
title  "  A  Song  of  the  Mexicans,  after  the  manner  of  the  Otomis." 
It  is  a  rhapsody,  in  which  the  bard  sings  his  "  faculty  divine," 
and  describes  the  intoxication  of  the  poetic  inspiration.  It  has 
every  inherent  mark  of  antiquity,  and  its  thought  is  free  from 
any  tincture  of  European  influence. 

2.  Diiahuatototl,  literally,  "  the  corn-silk  bird,"  iniahua  being 
the  term  applied  to  the  silk  or  tassel  of  the  maize  ear  when  in 
the  milk.     I  have  not  found  its  scientific  designation. 

6.  poyomatl ;  the  poyomatli  is  described  by  Sahagun  {Hist,  de 
la  Nueva  Espana,  Lib.  X,  cap.  24)  as  a  species  of  rose,  portions 
of  which  were  used  to  fill  the  cane  tubes  or  pipes  used  for  smok- 
ing. He  names  it  along  with  certain  fungi  employed  for  the 
same  purpose,  and  it  probably  produced  a  narcotic  effect. 


V. 

From  the  wording,  this  appears  to  be  one  of  the  lost  songs  of 
Nezahualcoyotl,  either  composed  by  him  or  sung  before  him. 
(See  the  Introduction,  p.  35.)  It  is  a  funeral  dirge,  dwelling  on 
the  fact  of  universal  and  inevitable  death,  and  the  transitori- 
ness  of  life.  There  is  in  it  no  hint  of  Christian  consolation,  no 
comfortable  hope  of  happiness  beyond  the  grave.  Hence  it  dates, 
in  all  likelihood,  from  a  period  anterior  to  the  arrival  of  the  mis- 
sionaries. 

I.  tofiequimi/ol ;  I  take  this  to  be  a  derivative  from  qnimiloa, 
to  wrap  up,  especially,  to  shroud  the  dead,  to  wrap  the  corpse  in 
its  winding  sheets,  as  was  the  custom  of  tlie  ancient  Mexicans. 


NOTES.  135 

The  word,  however,  seems  an  archaic  form,  as  it  does  not  lend 
itself  readily  to  analysis. 

The  expression  in  Dios,  I  explain  as  in  the  note  to  II,  i,  and  do 
not  consider  that  it  detracts  from  the  authentic  antiquity  of  the 
poem. 

2.  yoyoiitzin  ;  on  the  significance  of  this  appellation  of  Nezahu- 
alcoyotl,  see  Introduction,  p.  35. 

3.  //'  Nezahualcoyotl ;  "  thou  Nezahualcoyotl."  The  princely 
poet  may  have  addressed  himself  in  this  expression,  or  we  may 
suppose  the  song  was  chanted  before  him. 

5.  Nopiltzin;  the  reference  is  to  Quetzalcoatl,  the  famous  "  fair 
God  "  of  the  Nahuas,  and  in  myth,  the  last  ruler  of  the  Toltecs. 
See  D.  G.  Brinton,  American  Hero  Myths  (Philadelphia,  1882). 
The  term  means  "  my  beloved  Lord."  On  Tezozomoc,  see  Intro- 
duction, p.  35. 

6.  The  text  of  the  latter  part  or  refrain  of  verses  5  and  6  is  cor- 
rupt, and  my  translation  is  doubtful. 


VI. 

Most  of  the  poems  in  this  collection  are  not  assigned  to  any 
author,  but  this,  and  apparently  the  one  following,  are  recorded 
as  the  compositions  of  Tetlapan  Quetzanitzin.  He  is  evidently 
the  personage  spoken  of  by  Sahagun  as  "  King  of  Tlacopan,"  as 
present  with  Montezuma  on  the  occasion  of  his  first  interview 
with  Cortez.  Later  in  the  struggle  Tetlapan  appears  as  the  asso- 
ciate of  Quauhtemoctzin,  the  "  King  of  Mexico."  (See  Saha- 
gun, Hist,  de  la  Nueva  Espana,  Lib.  XII,  cap.  16  and  40.)  M. 
R^mi  Simeon  explains  the  name  to  mean  "  he  who  deceives  the 
people  by  magic  ;  "  deriving  it  from  quetza,  he  places  ;  te,  the 
people,  tlepan,  on  the  fire.  A  simpler  derivation  seems  to  me  pos- 
sible from  tetlapatiqui,  miner,  or  quarryman  (literally,  stone- 
breaker),  and  qaetzalli,  red;  qiietzatzin,  the  lord  or  master  of  the 
miners. 

Both  this  and  the  following  are  war  songs,  and  have  marked 
similarity  in  thought  and  wording.  The  introduction  of  the 
Spanish  Dios  was  doubtless  substituted  by  the  scribe,  for  the 
name  of  some  native  god  of  war,  perhaps  Huitzilopochtli. 

I.  Alia  ;  this  word  I  take  to  be  a  form  of  the  interjection  ji'a/;«^, 
or,  as  Olmos  gives  it  in  his  Gravunar,  aa. 


136  NOTES, 

2.  nepohtialoyan ;  "the  place  of  counting  or  reckoning,"  from 
pohica,  to  count.  The  reference  is  not  clear,  and  the  translation 
uncertain.  In  some  parts  of  ancient  Mexico  they  used  in  their 
accounting  knotted  cords  of  various  colors,  like  the  Peruvian 
quipus.     These  were  called  nepohualtzitzin. 

4.  This  verse  is  remarkable  for  its  sonorous  phrases  and  the 
archaic  forms  of  the  words.  Its  translation  offers  considerable 
difficulty. 

xontlachayan,  I  take  to  be  an  imperative  form  from  tlachia,  to 
look,  with  the  euphonic  07i. 

teoatl  tlachinolli,\\X.QXdX\y  "the  divine  water  {i.  e.  blood),  the 
burning,"  and  the  expression  means  war,  battle.  In  one  of  his 
sermons  Fray  Juan  Bautista  describes  the  fall  of  Jericho  in  the 
words,  otialtitechya  in  altepetl  teuatl  tiachinolli  ye  opoliuh,  and 
explains  it,  "  the  town  was  destroj-ed  with  fire  and  blood"  {Ser- 
tnones  en  Lengua  3/exicana,  p.  122).  The  word  tiachinolli  is  from 
chinoa,  to  burn. 

quetzalalpilo  ;  a  compound  of  quetzalli,  a  beautiful  feather,  and 
tlalpiloni,  the  band  which  passed  around  the  head  to  keep  the 
hair  in  place. 

5.  melchiquiuhticaya ;  "  he  who  presented  his  breast,"  an 
imperfect,  reflexive  form.  Molina  gives  melchiquiuh  petlaiihqiii, 
with  the  translation  despechugado.     Vocabulario  Mexicana,  s.  v. 


VII. 

The  second  specimen  from  the  muse  of  Tetlapan  Quetzanitzin 
is  the  noblest  war  song  in  the  collection.  It  is  an  appeal  to  his 
friends  to  join  in  a  foray  to  Chiapas.  The  intoxication  of  the 
battle  field  is  compared  to  that  produced  by  the  strong  white  wine 
prepared  from  maguey,  which  was  drunk  only  on  solemn  occa- 
sions. The  bard  likens  the  exhaustion  of  his  fellow  warriors 
from  previous  conflicts,  to  the  stupor  which  follows  a  debauch, 
and  he  exhorts  them  to  throw  it  aside. 

I.  oamaxque,  o,  pret.  a>n,  you,  axque,  2d  pi.  pret.  from  ay, 
to  do. 

odicatl,  apparently  an  old  form  from  odli,  the  intoxicating 
beverage  prepared  from  the  maguey. 

oanqiiique,  2d  pi.  pret.  from  cui,  to  take. 

ohnican,  a  place  of  difiiculty  and  danger. 


NOTES.  ,  137 

The  frequent  addition  of  the  terminal  o  in  this  and  the  succeed- 
ing verses  is  merely  euphonic. 

2.  icoatj  tiachinolli  ;  see  note  VI,  4. 

/;/  inaqiiiztli  tlazotetl,  the  beloved  jewels,  a  phrase  which  iiuli- 
cates  that  the  broken  stones  and  splintered  emeralds  referred  to 
are  the  young  warriors  who  fall  in  battle,  the  pride  of  their 
parents'  hearts,  who  are  destroyed  in  the  fight. 

The  tizaoctii,  white  wine  (^tizatl,  chalk,  hence  white,  and  octli, 
wine),  referred  to  in  this  passage,  is  said  by  Sahagun  to  have  been 
drunk  especially  at  the  feast  of  the  god  Papaztac,  one  of  the 
many  gods  of  the  wine  cup.  Hist,  de  Nueva  EspaFia,  Lib.  II, 
App.  Tezozomoc  mentions  it  as  handed  to  the  mourners  at 
funeral  ceremonies.     Cronica  Mexicana,  cap.  55. 

3.  xochitlalticpacillmicacpao ;  in  this  long  compound  oi  xochitl, 
flower,  Haiti,  earth,  and  ilhuicatl,  sky,  with  various  postpositions 
and  the  euphonic  terminal  o,  the  final /a  gives  the  sense  of  loca- 
tion, towards,  in  the  direction  of. 

chinialxochitl ;  "  the  shield  flower,"  the  shield  or  buckler  of 
the  ancient  warriors,  ornamented  with  tassels  and  feathers,  is 
not  unaptly  called  the  flower  of  war. 


VIII. 

The  entire  absence  in  this  lament  for  the  dead  of  any  conso- 
lation drawn  from  Christian  doctrines,  points  clearly  to  a  date 
for  its  composition  earlier  than  the  teachings  of  the  missionaries. 
Its  cry  of  woe  is  hopeless,  and  the  title  attributes  its  authorship 
to  one  of  the  old  chieftains,  tlatoani,  who  held  the  power  before 
the  Spaniard  arrived. 

1.  quetzalJuiahuaciuhtoque,  from  qtietzalli,  fmaqui ;  in  teintoqjce, 
the  splinters  ;  the  same  simile  is  employed  in  VII,  2. 

2.  ximoaya?t,SQ&  note  to  I,  8.  The  occurrence  of  this  term  here 
and  in  verse  3  testifies  to  the  fact  of  a  composition  outside  of 
Christian  influences. 

IX. 

The  title  does  not  necessarily  mean  that  this  song  is  a  transla- 
tion from  the  Otomi  language,  but  merely  that  the  time  to  which 
it  was  chanted  was  in  the  Otomi  style ;  or,  the  term  Otomi  may 

J 


138  NOTES. 

have  reference  to  the  miHtary  officer  so  called.     The  word  is  per- 
haps a  compound  of  <?///,  path,  and  mitl,  arrow. 

The  bard  sings  the  vanity  of  eartlily  pleasures,  and  the  reality 
of  earthly  pains  ;  he  exhorts  himself  and  his  hearers  not  to  neglect 
the  duties  of  religion,  and  lauds  his  own  skill  in  song,  which  he 
compares  to  the  sweet  voices  of  melodious  birds.  There  is 
nothing  in  the  poem  which  reflects  European  influence. 

1.  xotlacueponi  ;  the  meaning  of  this  compound  is  obscure.  It 
is  not  found  in  the  dictionaries. 

2.  The  terminal  o  is  inserted  several  times  in  the  passage  to 
express  emotion  and  fill  the  metre. 

mixitl  tlapatl.  A  phrase  signifying  the  stupor  or  drunkenness 
that  comes  from  swallowing  or  smoking  narcotic  plants.  See 
Olmos,  Granunaire  de  la  Layigue  Nahuatl,  pp.  223,  228  ;  oquiqiieo 
is  from  i,  to  drink,  or  cui,  to  take,  the  o  terminal  being  euphonic. 


X. 

The  poet  expresses  his  grief  that  his  songs  all  dwell  on  pain- 
ful topics;  he  exhorts  his  hearers  of  the  vanity  of  fame  and 
skill  in  handicrafts,  and  of  the  uncertainty  of  life ;  closing,  he 
appeals  especially  to  those  of  Tezcuco  and  Atecpan  to  listen 
and  believe  his  warnings. 

In  spite  of  the  introduction  of  the  Spanish  word  Dios,  and  the 
exhortation  to  "  believe,"  in  the  last  line,  it  is  possible  that  the 
substance  of  this  song  was  due  to  purely  native  inspiration  ;  yet 
it  may  have  been,  like  Song  XIX,  one  of  those  written  at  an 
early  period  for  the  converts  by  the  missionaries. 


XL 

In  a  similar  strain  as  in  the  last  poem,  the  bard  bewails  the 
briefness  of  human  life  and  friendships.  He  closes  with  an  appeal 
to  the  Master  of  Life,  of  whom  no  mortal  tongue  can  speak  in 
worthy  and  appropriate  terms. 

6.  ihuiii,  apparently  a  form  of  ihuintia. 

tonan ;  the  reference  appears  to  be  to  Tonantzin,  Our  Mother, 
otherwise  known  as  Cihuacoat!,  the  Serpent  Woman.  Slie  was 
the  mythical  mother  of  tlie  human  race,  and  dispensed  afflictions 


I 


NOTES.  139 

and  adverse  fortune.  See  Sahagun,  Hist,  dc  la  Xiieva  Espana, 
Lib.  I,  cap.  6.  Tlie  name  is  a  proof  of  the  antiiiuily  of  the  poem, 
which  is  throughout  in  the  spirit  of  the  ancient  reUgion. 


XII. 

As  stated  in  the  Introduction  (|  lo),  a  note  prefixed  to  this  song 
introduces  it  as  a  transhition  from  the  Otomi  into  the  Nahuatl 
tongue.  It  admirably  illustrates  the  poetic  flexibility  of  the  Na- 
huatl. 

3.  epoyhicayan,  from  epoalli,  sixty ;  teoquauhtli  ocelotl,  "  divine 
eagles,  tigers."  These  terms  refer  to  the  warriors  bearing  these 
titles. 

tlazomaqidzietl,  "  beloved,  precious  stones,"  a  figure  of  speech 
referring  to  the  youths  who  go  to  war.  The  same  or  similar 
metaphors  are  used  in  previous  songs. 

5.  The  fifth  and  sixth  verses  present  serious  difficulties  of  con- 
struction which  I  do  not  flatter  myself  I  have  overcome. 


XIII. 

The  inhabitants  of  Huexotzinco  were  in  frequent  strife  with 
those  of  Mexico-Tenochtitlan,  and  on  various  occasions  the  lat- 
ter captured  many  prisoners.  The  present  poem  is  represented 
to  be  a  composition  of  one  of  these  prisoners  when  he  and  his 
companions  were  confined  in  Tlatilolco,  one  of  the  suburbs  of 
Tenochtitlan.  It  breathes  hatred  against  his  captors  and  an 
ardent  thirst  for  vengeance.  The  latest  date  at  which  I  find  cap- 
tives from  Huexotzinco  detained  in  Mexico  is  1511,  and  it  is  to 
this  year,  therefore,  that  I  assign  the  composition  of  the  poem. 

5.  Atloyantepetl;  this  name  possibly  means  "  the  mountain  of 
the  place  of  the  water-falcons  "  {atl,  water ;  tlatli,  falcon  ;  yan, 
place-ending;  tepetl,  mountain).  I  have  not  found  it  in  other 
writers.     (See  Index.) 

8.  tlaylotlaqui;  Simeon,  on  the  authority  of  Aubin,  explains 
this  term  as  the  name  of  a  tribe  living  near  Tezcuco.  In  deri- 
vation it  appears  to  be  a  term  of  contempt,  "  workers  in  filth  or 
refuse,"  scum,  offscourings.     It  also  appears  in  Song  XV. 

10.  The  construction  of  this  verse  is  so  obscure,  or  the  text 
so  imperfect,  that  the  translation  is  doubtful. 


140  NOTES. 

XIV. 

This  poem,  chanted  in  1551  before  the  Governor  of  Azcapo- 
tzalco,  by  Francisco  Placido,  a  native  of  Huexotzinco,  is  a  Chris- 
tian song  in  the  style  and  metre  of  the  ancient  poetry.  See  the 
Introduction,  p.  51. 

I.  impetlatl ;  the  ordinary  meaning  of />^//ai'/ is  a  mat  or  rug;  it 
is  here  to  be  taken  in  its  figurative  sense  of  power  or  authority, 
chiefs  and  other  prominent  persons  being  provided  with  mats 
at  the  councils,  etc. 

XV. 

This  extremely  difficult  composition  seems  to  be  a  war  song, 
in  which  the  bard  refers  to  the  traditional  history  of  the  Nahuas, 
names  some  of  their  most  prominent  warriors,  and  incites  his 
hearers  to  deeds  of  prowess  on  the  battle  field.  I  do  not  claim 
for  my  version  more  than  a  general  correspondence  to  the 
thought  of  the  original.  In  several  parts,  especially  verse  18, 
the  text  is  obviously  defective. 

1.  tzihitactitlan ;  "  the  land  of  the  tzihuac  bushes."  The  tzihu- 
actli  is  a  small  kind  of  maguey  which  grows  in  rocky  localities. 
The  tenth  edifice  of  the  great  temple  at  Tenochtitlan  was  a  wall 
surrounding  an  artificial  rockery  planted  with  these  bushes.  Sa- 
hagun,  who  mentions  this  fact,  adds  that  the  name  of  this  edifice 
was  Teotla/pan,  which  literally  means  "  on  holy  ground."  {Hist, 
de  la  Nueva  Espana,  Lib.  II,  App.)  The  rnizquitl  is  the  common 
Mimosa  circinalis. 

Chicomoztoc ;  "at  the  Seven  Caves,"  a  famous  locality  in  Mex- 
ican legend,  and  the  supposed  birthplace  of  their  race. 

2.  Colhuacan  is  probably  fur  Acolhuacan  ;  the  early  rulers  of 
the  latter  were  of  the  blood  of  the  Chichimec  chiefs  of  the  Tepan- 
ecas. 

4.  Hueytlalpaii,  "  at  the  ancient  land,"  perhaps  for  Huetlapal- 
lan,  a  locality  often  referred  to  in  the  migration  myths  of  the  Na- 
huas. 

5.  Atloyan ;  see  note  to  XIII,  6. 

9.  The  ceiba  and  cypress  trees  were  employed  figuratively 
to  indicate  protection  and  safeguard.  .See  Olmos,  Gram,  de  la 
La)igue  Nahuatl,\>.  7.11. 

12.  On  tlailothiqui,  see  note  to  XIII,  8.  The  interjectional 
appendages  to  this  and  the  following  verse  are  increased. 


f 


NOTES.  141 

15.  Tepeyacan  was  the  name  of  a  mountain  on  which  before 
tlie  Conquest  was  a  temple  dedicated  to  the  "  Mother  of  our  Life," 
Tonantzin. 

16.  thipalcayocan,  "the  phxce  of  shards,"  of  broken  pieces,  /.  e., 
the  field  of  battle. 

19.  The  word  fotomihuacan,  which  has  already  occurred  in  vv. 
3  and  7,  I  have  translated  as  referring  to  the  war  captains  of  the 
Mexican  armies,  called  otonii  (see  Bandelier,  On  the  Art  of  War 
of  the  Ancient  3Iex~icafis,  p.  117).  I  am  quite  open  for  correction 
however. 

27.  iti  ipetl  icpal;  in  a  translation  of  an  ancient  song,  Ixtlilxo- 
chitl  renders  the  expression  /«  ipetlicpalin  teotl,  "en  el  trono  y 
tribunal  de  Dios,"  Historia  Chichimeca,  cap.  32. 

29.  Mictlan  ;  the  place  of  departed  souls  in  Aztec  mythology. 


XVI. 

In  this  stirring  war-song,  the  poet  reproaches  his  friends  for 
their  lukewarmness  in  the  love  of  battle.  He  reminds  them  that 
life  is  transitory,  and  the  dead  rise  not  again,  and  that  the 
greatest  joy  of  the  brave  is  on  the  ringing  field  of  fray  where 
warriors  win  renown.     It  is  in  the  spirit  of  the  Scotch  harper : — 

"  'Twere  worth  ten  years  of  peaceful  life, 
One  hour  of  such  a  day." 

1.  Each  verse  terminates  with  an  interjectional  refrain.  The 
frequent  introduction  of  the  particle  on  is  intended  to  add 
strengtli  and  gravity  to  the  oration. 

2.  oppan  piltihna.  Compare  this  expression  with  that  in  v.  22, 
p.  44. 

3.  xochimicohuayan,  should  perhaps  be  translated,  "  where  the 
captives  to  be  immolated  to  the  Gods  are  taken."  The  xochbn- 
ique,  "  those  destined  to  a  flowery  death  "  were  the  captives  who 
were  reserved  for  sacrifice  to  the  gods.  See  Joan  Bautista,  Ser- 
monario  en  Lengua  Mexicana,  p.  180. 

4.  yaoxochimiquiztica,  "  pertaining  to  the  slaughter  of  the 
flowery  war."  This  adjective  refers  to  the  peculiar  institution  of 
the  "  flowery  war,"  gnerra  florida,  which  obtained  among  the 
ancient  Mexicans.  It  appears  to  have  been  a  contest  without 
provocation,  and  merely  for  the  display  of  prowess  and  to  take 


142  NOTES. 

captives  to  supply  the  demand  for  human  sacrifices  in  the 
religious  rites.  On  this  see  Tezozomoc,  Cronica  Mexicana^  cap. 
96. 

XVII. 

In  this  long  fragment — the  closing  strophes  are  missing  in  my 
MS. — the  bard  represents  himself  as  a  stranger  appearing  before 
the  nobles  of  Huexotzinco  at  some  festival.  The  first  two  verses 
appear  to  be  addressed  to  him  by  the  nobles.  They  ask  him  to 
bring  forth  his  drum  and  sing.  He  begins  with  a  laudation  of  the 
power  of  music,  proceeds  to  praise  the  noble  company  present, 
and  touches  those  regretful  chords,  so  common  in  the  Nahuatl 
poetry,  which  hint  at  the  ephemeral  nature  of  all  joy  and  the  cer- 
tainty of  death  and  oblivion.  An  appeal  is  made  to  the  Master 
of  Life  who  inspires  the  soul  of  the  poet,  and  whose  praises 
should  be  ever  in  mind. 

The  words  Z>/6).f  and  a«^^/c»//;/,  in  verse  26th,  indicate  that  the 
poem  has  received  some  "  recension  "  by  the  Spanish  copyist ; 
but  the  general  tone  impresses  me  as  quite  aboriginal  in  character. 

2.  quauhtlocclotl,  see  note  to  I,  5. 

3.  In  this  verse,  as  frequently  elsewhere,  the  syllable  ya  is 
introduced  merely  to  complete  the  metre.  Ordinarily  it  is  the 
sign  of  the  imperfect  tense,  and  has  other  meanings  (see  the  Vo- 
cabulary), but  in  many  instances  does  not  admit  of  translation. 

8.  noncoaii,  for  7ii-on-coatl,  I  am  a  guest. 

18.  The  references  in  this  verse  are  obscure,  and  I  doubt  if  I 
have  solved  them. 

20.  "The  house  of  spring; "  compare  the  expression  in  v.  i,  of 
Nezahualcoyotl's  song,  p.  42. 

21.  A  long  oration  of  Xicontecatl,  lord  of  Tizatlan,  may  be 
found  in  Clavigero,  Hist.  Antica  di  Messico,  Tom.  Ill,  p.  40.  The 
expression  in  camaxochitzin,  from  cmnail,  mouth,  xochitl, 
rose,  flower,  and  the  reverential  tzin,  is  noteworthy. 

24.  petlacoatl,  the  centipede  or  scolopender  ;  ixom  pet/ati,  mat, 
and  coal/,  serpent,  as  they  are  said  to  intertwine  with  each  other, 
like  the  threads  of  a  mat  (.Sahagun,  Lib.  XII,  cap.  4K 


NOTES.  143 

XVIII. 

At  this  portion  of  the  MS.  several  poems  are  preceded  by  a 
Hne  of  syllables  indicating:  their  accompaniment  on  the  teponaz- 
tli  (see  Introduction,  p.  32). 

The  present  number  is  one  of  the  most  noteworthy  songs  of  the 
collection.  It  belongs  to  the  ancient  cyclus  of  Quetzalcoatl 
myths,  and  gives  a  brief  relation  of  the  destruction  of  Tollan  and 
the  departure  and  disappearance  of  the  Light  God,  Quetzalcoatl 
Ce  Acatl.  As  I  have  elsewhere  collated  this  typical  myth  at 
length,  and  interpreted  it  according  to  the  tenets  of  modern 
mythologic  science,  I  shall  not  dwell  upon  it  here  (see  D.  G. 
Brinton,  American  Hero  Myths,  Phila.,  1S82). 

The  text  of  the  poem  is  quite  archaic,  and  presents  many  diffi- 
culties. But  my  translation,  I  think,  gives  the  general  sense  cor- 
rectly. 

1.  huapalcaUi  ;  literally,  "the  house  constructed  of  beams."  This 
name  was  applied  to  the  chief  temple  of  theToltecs  ;  the  ruins  of 
an  ancient  structure  at  Tollantzinco  were  pointed  out  at  the 
time  of  the  Conquest  as  those  of  this  building  (see  Sahagun, 
Hist,  de  la  Nueva  EspaJia,  Lib.  X,  cap.  29). 

coatlaquetzalli ;  this  edifice,  said  to  have  been  left  incomplete 
by  Quetzalcoatl,  when  he  forsook  Tollan,  had  pillars  in  the  form 
of  a  serpent,  the  head  at  the  base,  the  tail  at  the  top  of  the  pillar. 
(See  Orozco  y  Berra,  Hist.  Antigua  de  Mexico,  Tom.  Ill,  pp.30 
and  46.)  The  structure  is  mentioned  as  follows  in  the  Atiales 
de  Oiauhtitlan : — 

^^  Aiihiniquac  nemia  Quetzalcoatl  quitzintica,  qiiipeuahtica  iteo- 
cal  quiinaman  coatlaquetzali  ihuan  amo  quitzonquixti,  aino  qui- 
pantlaz." 

"  And  when  Quetzalcoatl  was  living,  he  began  and  commenced 
the  temple  of  his  which  is  the  Coatlaquetzali  (Serpent  Plumes), 
and  he  did  not  finish  it,  he  did  not  fully  erect  it." 

Nacxitl  Topiltzin,  "  Our  Lord  the  four-footed."  Wa^;rz// appears 
to  have  been  the  name  of  Quetzalcoatl,  in  his  position  as  lord  of 
the  merchants.     Compare  Sahagun,  ubi  supra,  Lib.  I,  cap.  19. 

2.  Poyauhtecatl,  a  volcano  near  Orizaba,  mentioned  by  Sahagun. 
Acallan,  a  province  bordering  on  the  Laguna  de  los  Terminos. 

The  myth  reported  that  Quetzalcoatl  journeyed  to  the  shores  of 
the  Gulf  about  the  isthmus  of  Tehuantepec  and  there  disap- 
peared. 


144'  NOTES. 

3.  Nonohualco ;  the  reference  is  to  the  cerro  de  Nonoalco, 
which  plays  a  part  in  the  Quetzalcoatl  myth.  The  words  of  the 
song  are  ahnost  those  of  Tezcatlipoca  when  he  is  introduced  to 
Quetzalcoatl.  Asked  whence  he  came,  he  replied,  "  Nihuitz  in 
Nonohualcatepetl  itzintla,  etc."  {Anales  de  Cuauhtitlan). 

4.  The  occurrences  alluded  to  are  the  marvels  performed  by 
Quetzalcoatl  on  his  journey  from  Tulan.  See  my  American 
Hero  Myths,  p.  115. 

5.  The  departure  of  Quetzalcoatl  was  because  he  was  ordered 
to  repair  to  Tlapallan,  supposed  to  be  beyond  Xicalanco. 

8.  qitinti,  for  iqiiifitia ;  the  reference  is  to  the  magic  draught 
given  Quetzalcoatl  by  Tezcatlipoca. 

9.  In  teil,  i?i  qnahiiitl;  literally,  "  stone  and  stick ;  "  a  very  com- 
mon phrase  in  Nahautl,  to  signify  misfortunes. 


XIX. 
In  this  song  we  have  avowedly  a  specimen  of  an  early  chant 
prepared  probably  by  Bishop  Zummarraga  for  the  native  converts. 
The  accompaniment  on  the  teponaztli  is  marked  at  the  beginning. 
The  language  is  noticeably  different  from  the  hymn  to  Quetzal- 
coatl just  given  (XVIII). 

XX. 

Another  song  of  the  antique  Quetzalcoatl  cyclus.  It  bewails  the 
loss  of  Tulan,  and  the  bard  seeks  in  vain  for  any  joyous  theme  to 
inspire  his  melody,  reflecting  on  all  that  has  bloomed  in  glory 
and  now  is  gone  forever. 

3.    Tetl-quahitl ;  see  note  to  XVIII,  9. 


XXI. 

The  occurrence  to  which  this  poem  alludes  took  place  about 
the  year  1507.  The  chroniclers  state  that  it  was  in  the  early 
period  of  the  reign  of  Montezuma  II,  thilt  the  natives  of  Huexot- 
zinco,  at  that  time  allies  of  the  Mexicans,  were  severely  harassed 
by  the  Tlascallans,  and  applied,  not  in  vain,  to  their  powerful 
suzerain  to  aid  them.  (See  Tezozomoc,  Cronica  ilfexicana,  cap. 
97.) 


NOTES.  *145 

The  poet  does  not  appee\r  to  make  a  direct  petition,  but  indi- 
rectly praises  the  grandeur  of  Montezuma  and  expresses  his  own 
ardent  love  for  his  native  Huexotzinco.  The  song  would  appear 
to  be  used  as  a  delicate  prelude  to  the  more  serious  negotia- 
tions. It  is  one  of  the  few  historical  songs  in  the  collection. 
From  the  references  in  verses  i  and  3  we  infer  that  this  singer 
held  in  his  hand  the  painted  book  from  which  he  recited  the 
couplets.     This  may  explain  the  presentation  of  the  piece. 

I.  hueizcani;  one  who  laughs,  a  jester,  perhaps  the  designation 
of  one  who  sang  cheerful  songs. 

chakhiiihatlaquiquizcopa;  a  word  of  difficult  analysis.  I  sus- 
pect an  omission  of  an  /,  and  that  the  compound  includes 
tlaquilqui,  one  who  fastens  and  puts  together,  a  mason,  etc. 

5.  The  sense  is  that  the  warriors  of  Montezuma  when  on  the 
field  of  battle,  shine  in  their  deeds  like  beautiful  flowers  in  a  field, 
and  win  lasting  fame  by  their  exploits. 

inopopoyauhtoc .  The  grammarian  Olmos  explains  the  reflex- 
ive verb  ino-popoyauhtiuh  to  signify  "he  leaves  an  honored  mem- 
ory of  his  exploits."  See  Simeon,  Dictionaire  de  la  Lang ue  Na- 
huat/,  sub  voce. 

7.  Huexotzinco  atzalan ;  "Huexotzinco  amid  the  waters." 
This  expression,  repeated  in  verse  8,  appears  inappropriate  to 
the  town  of  Huexotzinco,  which  lies  inland.  In  fact,  the  descrip- 
tion in  verse  7  applies  to  Tenochtitlan  rather  than  the  singer's 
own  town.  But  the  text  does  not  admit  this  translation.  Per- 
haps we  should  read  "Huexotzinco  and  Atzalan,"  as  there  are  yet 
two  villages  of  that  name  in  the  state  of  Puebla  (which  embraced 
part  of  ancient  Huexotzinco). 

10.  petiatolitii,  I  have  derived  from  petlatl,  suspecting  an  error 
in  transcription.  The  reference  is  to  the  rushes  in  the  mat  on 
which  the  singer  stood. 

XXII. 

The  ordinary  sad  burden  of  the  Nahuatl  poets  is  repeated  with 
emphasis  in  this  plaint.  It  is  a  variation  of  the  Epicurean  advice, 
"Eat,  drink,  and  be  merry,  for  to-morrow  we  die."  Both  the 
sentiment  and  the  reference  to  Mictlan  in  verse  7,  point  it  out 
as  a  production  uninfluenced  by  Christian  teaching. 

7.  The  word  ahtcicaloyan,  place  of  sweetness,  would  seem  to 
be  identical  with  ohuicaloyati,  place  of  difficulty,  in  v.  8;  I  iiave 
regarded  the  latter  as  an  error  of  transcription. 


146  NOTES. 

XXIII. 

Althougli  No.  V.  is  probably  one  of  the  lost  songs  of  Nezahual- 
coyotl,  the  present  is  the  only  one  of  the  collection  which  is  defin- 
itely attributed  to  him.  The  language  is  very  archaic,  and  in  the 
sentiment  there  is  every  mark  of  antiquity. 

The  text  is  apparently  a  dialogue,  which  was  chanted  as 
strophe  and  antistrophe,  the  one  singer  speaking  for  the  King- 
the  other  for  the  bard  himself. 

The  word  teotl  is  used  for  divinity,  and  it  is  doubtless  this  word 
for  which  the  copyists  of  some  of  the  other  songs  have  substi- 
tuted the  Spanish  Dios,  thus  conveying  an  impression  that  the 
chants  themselves  were  of  late  date. 

The  last  verse,  however,  seems  to  be  by  one  who  lives  after 
the  time  of  the  great  poet-prince,  and  is  calling  him  to  memory. 


XXIV. 

It  will  be  seen  that  there  is  a  wearisome  sameness  in  the 
theme  of  most  of  the  short  poems.  Probably  the  bards  followed 
conventional  models,  and  feared  for  the  popularity  of  their  pro- 
ducts, did  they  seek  originality.  Here  again  are  the  same 
delight  in  flowers  and  songs,  and  the  same  grief  at  the  thought 
that  all  such  joys  are  evanescent  and  that  soon  "  death  closes 
all." 

I  consider  the  poem  one  of  undoubted  antiquity  and  purely 
native  in  thought  and  language. 


XXV. 

The  destruction  of  the  Mexican  state  was  heralded  by  a  series  of 
omens  and  prodigies  which  took  place  at  various  times  during 
the  ten  years  preceding  the  arrival  of  Cortes.  They  are  care- 
fully recorded  by  Sahagun,  in  the  first  chapter  of  the  12th  book  of 
his  history.  They  included  a  comet,  or  "  smoking  star,"  as  these 
were  called  in  Nahuatl,  and  a  bright  flame  in  the  East  and  South- 
east, over  the  mountains,  visible  from  midnight  to  daylight,  for  a 
year.  This  latter  occurred  in  1509.  The  song  before  us  is  a  bod- 
ing chant,  referring  to  such  prognostics,  and  drawing  from  them 
the  inference  that  the  existence  of  Mexico  was  doomed.     It  was 


NOTES.  147 

probably  from  just  such  songs  tliat  Sahagun  derived  his  inforiii- 
ation. 

1.  ioztliyan,  I  suppose  from  tozquiil,  the  singing  voice,  in  the 
locative  ;  literally,  "  the  quechol  in  the  place  of  sweet-singing." 

2.  iquiapan,  from  i,  possessive  prefix,  quiauatl,  door,  entrance, 
house, /<?//,  in. 

5.  An  obscure  verse  ;  tequantepcc,  appears  to  be  a  textual  error  ; 
fcquaiii,  a  ravenous  beast,  from  qua  to  eat ;  tepee,  a  mountain ; 
but  tcquantepehua  occurring  twice  later  in  the  poem  induces  the 
belief  tequani  should  be  taken  in  its  figurative  sense  of  afllic- 
tion,  destruction,  and  that  tepee  is  an  old  verbal  form. 

7.  XoehitecatI,  "  one  who  cares  for  flowers,"  is  said  by  Sahagun 
to  have  been  the  name  applied  to  a  woman  doomed  to  sacrifice 
to  the  divinities  of  the  mountains  {Hist.  Nueva  Espana,  Lib.  II, 
cap.  13). 

8.  ainaxtecatl,  or  ajtioxteeatt, ?iS  the  MS.  may  read,  from  amoxtli, 
a  book. 

XXVI. 

This  seems  to  be  a  song  of  victory  to  celebrate  an  attack  upon 
Atlixco  by  the  ruler  of  Tezcuco,  the  famous  Nezahualpilli.  This 
monarch  died  in  1516,  and  therefore  the  song  must  antedate  this 
period,  if  it  is  genuine.  It  has  every  intrinsic  evidence  of  anti- 
quity, and  I  think  may  justly  be  classed  among  those  preserved 
from  a  time  anterior  to  the  Conquest.  According  to  the  chro- 
nologies preserved,  the  attack  of  Nezahualpilli  upon  Atlixco  was 
in  the  year  XI  tochtli,  which  corresponds  to  1490,  two  years  before 
the  discovery  by  Columbus  (see  Orozco  y  Berra,  Hist.  Antigua 
de  Mexico,  Tom.  Ill,  p.  399). 

XXVII. 

My  MS.  closes  with  a  Christian  song  in  the  style  of  the  ancient 
poetry.  It  is  valuable  as  indicating  the  linguistic  differences 
between  these  later  productions  of  the  sixteenth  century  and 
those  earlier  ones,  such  as  XXVI,  which  I  have  not  hesitated  to 
assign  to  an  epoch  before  the  Spaniards  landed  upon  the  shores 
of  New  Spain. 


VOCABULARY. 


The  Roman  numerals  refer  to  the  songs,  the  Arabic  to  the 
verses,  in  which  the  word  occurs.  Abbreviations:  lit.,  Hterally  ; 
ref.,  reflexive;  pret.,  preterit;  rev.,  reverential  \  freq.,  frequenta- 
tive; post.,  postposition  ;  Span.,  a  Spanish  word. 

A,  adv.    No,  not,  in  comp. 

A,  ji.    For  att,  water,  in  comp.  ;  as  acalH,  water-house,   i.  c,  a 

boat. 
A,  iiitcrj.     Oh !  ah !    placed  after  the  word  on  which   stress  is 

laid. 
P^c,  pron.,  interj.     Who  ? 
Aca,  proti.    Some,  any  ;   somebody. 
Acalli,  n.     A  boat,  of  any  kind. 
Ach,  dubitative  particle.     Indeed  ?  is  it  not  ?  etc. 
Achitzinca,  adv.     A  little  while,  a  short  time. 
Achquen,  rt^c'.     At  what  time  ?     When? 
Aci,  r'.     To  reach,  to  acquire. 
Acohuetzi,  v.    To  console,  to  make  glad.     I,  3. 
Acoquiza,  v.     To  lift  up,  to  raise,  to  increase  in  dignity  or  power. 
Acotlaza,  :-.     To  console. 
Acxoyatl,  n.     The  wild  laurel. 

Ahauia,  v.    To  rejoice,  take  pleasure  in;  freq.  of  ahuia. 
Ahuachia,  v.     To  wet  one's  self,  to  bathe.     VII,  4. 
Ahuachtli,  ;/.      Dew,  moisture. 

Ahuehuetl,  n.     The  cypress  tree  ;  Cupressus  disticha. 
Ahuia,  V.     To  rejoice,  to  be  joyful. 
Ahuiac,  adj.     Agreeable,  pleasant,  sweet. 
Ahuian,  adj.     Content,  satisfied. 
Ahuicpa,  adv.     From  one  place  to  another.     111,3. 
Aic,  adv.     Never. 
Altepetl,  «.     Town,  city,  citadel. 
Amech,/>r<?«.  rel.     You,  to  you. 

Ameyalli,  n.     A  fountain,  a  stream;  ///.,  flowing  water. 
Amilli,  71.     Watered  and  arable  land.     XIV,  6. 

140 


150  VOCABULARY. 

Amo,  adv.    No,  not ;  amo  ma,  no  other ;  anio  zannen,  not  in  vain ; 

pron.,  you,  yours. 
Amoxpetlatl,  «.     Book-mat.     See  XIX,  3. 
Amoxtecatl,  «.     See  XXV,  8,  note. 
A.n,  pron.     You. 

Ana,  V.     To  take,  to  grasp,  to  seize. 
Anahuia,  v.     To  be  dissatisfied  . 
Anca,  art'y.    Of  the  kind  that.     XVII,  12. 
Ane,  adv.     Hollo  !  in  calling. 
Angelotin,  n.     Angels.     Span.  XVII,  26. 
Ano,  adv.     As  little,  neither. 
Anozo,  conj.     Or,  perhaps. 
Aoc,  adv.     Not  yet. 
Apana,  v.     To  clothe. 

Apano,  V.    To  ford,  to  cross  water.    XVIII,  2. 
Aquen,  adv.     Nothing,  in  no  manner. 
Aquin,  proti.     Who  ?  in  aquin,  he  who. 
At,  adv.     Perhaps,  perchance. 
Atayahuili,  for  at  ay  a  iieli.     Not  yet,  not  even. 
Atihuelmati,  v.     Not  to  be  well.     IX,  3. 
Atl,  n.     Water. 

Atlamachtia,  v.     To  praise  one  ;  ref.,  to  be  proud. 
Atle,  pron.     Nothing. 
Atley,  in  alley.    Without. 
Atonauia,  v.     To  have  a  fever,  to  be  sick. 
Auh,  conj.     And,  even,  also. 
Axalli,  ;/.     Bar-sand,  water-sand. 
Ay,  V.  pret.  oax.    To  do,  to  make. 
Aya,  adv.     Not  yet,  not  now. 

Ayacachtli,  n.     A  musical  instrument.     See  p.  24. 
Ayahuitl,  n.     Fog,  mist,  vapor. 

Ayauh  cozamalotl,  n.     The  rainbow;  ///.,  "mist  of  water  jewels.' 
Ayoc,  adv.    Already  not.     Ayoctle,  nothing  more. 
Ayoquan,  a^/r'.    Aoc-iuan.  Nothing  like  it,  unequaled.    XVII,  17. 
Ayoquic,  adv.     Nevermore.     V,  6. 
Azan,  adv.     Not  a  little,  not  a  few. 
Azo,  conj.     Or,  perhaps,  percliance. 
Aztlacapalli,  n.     The  tail  feathers  of  a  bird.     XVII,  10. 

Q.,  pron.  rel.    He,  her,  it,  him  ;  poslpos.,  with,  by,  in,  from,  at. 
Ca,  adv.     Already,  yes,  because,  for,  truly,  only. 


VOCABULARY.  151 

Ca,  V.     To  be  (in  a  place). 

Csi,  postpos.     With,  by,  by  means  of. 

Cacali,  v.    To  discharge  arrows. 

Cacopa, />(?j/.     Toward,  towards. 

Cahua,  v.     To  leave,  to  let,  to  desert,  to  stop,  to  lay  down. 

Calaquia,  v.    To  enter,  to  go  in. 

Calli,  ;/.     A  house  ;  in  comp.  cal,  as  nocal,  my  house. 

Calmecac,  u.     A  public  school,     p.  lo. 

Camapantli,  ;/.     The  cheeks,  the  face.     XXVI,  5. 

Camatl,  n.     The  mouth. 

Campa,  adv.     Where,  whither. 

Can,  adv.  andpostpos.     Where. 

Canauhtli,  «.     A  duck.     XXI,  9. 

Canel,  adv.    Since,  as,  because. 

Caqui,  v.    To  hear,  to  listen  to. 

Catlehuatl,/>r(3«.     Who?  which  ?  whoever,  whatever. 

Catqui,  v.  irreg.     From  ca,  to  be  (in  a  place). 

Cauhtehua,  v.     To  leave  a  place. 

Caxtlauitl,  n.     A  kind  of  ochre.      XVII,  10. 

Ce,  adj.  and  art.     One,  a,  an. 

Cece,  or  Cecen,  adj.     Each,  every. 

Cecemelquixtia,  v.     To  come  forth  wholly,  perfectly.     I,  i. 

Cecemeltia,  v.  re/.     To  rejoice,  to  feel  glad. 

Cecemeltic,  adj.     Complete,  whole,  entire. 

Cecemmana,  v.     To  disperse,  to  scatter. 

Cehuia,  7'.     To  rest,  to  repose. 

Cel.     Sole   only. 

Celia,  V.     I.  To  receive,  to  obtain.     2.  To  blossom,  to  bloom. 

Cemanahuatl,  «.     The  world,  the  universe. 

Cemelle,  adv.  With  peace  or  joy.  Usually  with  a  negative  aic 
cetnelle,  never  peacefully.     XV,  18;   XVI,  i. 

Cemilhuiltilia,  v.    To  detain  one  for  a  day. 

Cemilhuitl,  n.     One  day. 

Cen,  adv.     Forever,  for  always  ;  cenyauh,  to  go  forever,  to  die. 

Cenca,  adv.     Very  much,  exceedingly. 

Cenci,  adv.     Elsewhere. 

Cenquixtia,  v.     To  select  from,  to  pick  from, 

CentzontlatoUi,  n.  The  mocking  bird.  Tardus  polyglothis  ;  lit. , 
"the  myriad-voiced." 

Centzontli,  adj.  fium.  Four  hundred,  used  for  any  large  num- 
ber. 


152  VOCABULARY. 

Cepanoa,  v.     To  unite,  to  join  togetlier. 

Chalchiuhitl,  n.     The   Mexican  jade  or  green  stone  ;  emerald 

Jig.,  green  ;  precious. 
Chane,  n.     Inhabitant  or  resident  of  a  place. 
Chantli,  n.     A  dwelling,  a  residence  ;  in  conip.,  chau. 
Chia,  V.    To  wait,  to  expect. 

Chialoni,  n.     That  which  is  awaited  or  expected. 
Chicahuac,  adj.     Strong,  powerful. 
Chichia,  v.     i.  To  make  bitter.     2.  To  obey.     XIII,  9. 
Chichina,  t'.     To  snuff  up,  imbibe,   or  suck  up,   especially  the 

odors  of  burning  incense,  through  a  tube.     VH,  4;  X\TI,  10. 
Chichinaquiliztli,  n.     Torment,  pain,  suffering. 
Chihua,  v.     To  make,  to  do,  to  happen ;  chihua  in  noyollo,  my 

heart  is  troubled,  I  am  pained. 
Chimalli,  n.     The  native  shield  or  buckler.     VI,  4. 
Chitoni,  v.    To  sparkle,  to  glitter. 
Chitonia,  v.     To  gain,  to  realize  a  profit.     V,  4. 
Chittolini,  v.     To  bow  down,  to  sink. 
Choca,  V.     To  cry  (of  animals  and  man). 
Ciahui,  v.     To  fatigue  one's  self,  to  tire. 

Cihuacoatl,  ;/.     A  magistrate  of  high  rank  ;  ///.,  "  woman  serpent." 
Cihuatl,  ;/.     A  woman. 
Citlalin,  n.     A  star. 
Co,  pos//>os.     In,  from. 
Coa,  or  Cohua,  v.     To  buy,  to  purchase. 
Cochitia,  v.     To  sleep. 
Cocoa,  z'.    To  pain,  to  give  pain. 
Cocolia,  V.     To  hate. 
Cocoya,  z'.     To  be  sick. 
Cohuatl,  or  Coatl,  ;/.     A  serpent ;  a  guest ;  a  twin  ;  the  navel  ;  a 

spade. 
CohuayotI,  «.     Buying,  purchasing.     V,  2. 
Colli,  ;/.     Ancestor,  forefather. 
Coloa,  z'.    To  twist,  to  turn,  to  bend. 
Comoni,  z'.     To  crackle  (of  a  fire);  to  be  turlnilent  (of  people). 

XXIV. 
Con,  prou.     Some  one  ;  comp.  of  c  and  on. 
Copa,  postpos.     By,  toward. 
Copalli,  ;/.     Resin,  gum  copal. 
Coyoua.  r.     To  cry,  to  yell.     XIII,  7. 
Coyohuacan,  n.     Tlie  place  of  wolves.     XIII,  10. 


I 


VOCABULARY.  153 

Coyoltototl,  n.     The  coyol  bird,  Piranq;a  hepatica. 

Coyotl,  //.     Tlie  coyote,  the  Mexican  wolf. 

Cozcatia,  v.     To  deck  with  golden  chains.     IV,  4. 

Cozcatl,  n.    Jewel,  precious  stone ;  a  string  of  such  ;  a  chain  or 

collar. 
Cuecuexantia,  v.     To  gather  in  the  folds  of  the  robe. 
Cuecueya,  v.     To  move  to  and  fro.     XXI,  9. 
Cuepa,  V.     To  turn,  to  return,  to  bring  back. 
Cueponi,  v.     To  blossom,  to  bud,  to  bloom. 
Cuetlani,  :/.     To  wilt,  to  perish.     XV,  15. 
Cuetzpalti,  v.     To  act  as  a  glutton,  to  revel  in.     XVII,  5. 
Cuexantli,  n.     Gown,  robe,  petticoat. 
Cui,  V.     To  take,  to  gather,  to  collect. 
Cuica,  n.     A  song,  a  poem. 
Cuicani,  n.     A  singer,  a  poet. 

Cuicoyan,  n.     A  place  for  singing.     See  note  to  p.  10. 
Cuihua,  V.     Pass,  of  cui,  q.  v. 
Cuilia,  V.     Rev.  of  cui,  q.  v. 
Cuiloa,  V.     To  paint,  to  write. 
Cuiltonoa,  v.     To  be  rich  ;  to  rejoice  greatly ;  to  enrich  or  cause 

joy.     XV,  6. 
Cuitlatl,  n.     Excrement,  dung. 
Cuix,  adv.     An  interrogative  particle. 


Ecacehuaztli,  n.     A  fan. 

Ehecatl,  n.     Wind,  air. 

Ehecayo,  adj.     Full  of  wind,  stormy. 

Ehua,  V.     To  lift  up,  especially  to  raise  the  voice  in  singing. 

Elchiquihuitl,  71.    The  breast,  the  stomach. 

Elchiquiuheua,  v.     To  fatigue,  to  tire.     VI,  5. 

Elcicihuiliztli,  71.     A  sigh,  a  groan. 

Elehuia,  v.     To  desire  ardently,  to  covet. 

Ellaquahua,  v.     To  animate,  to  inspire. 

Ellelaci,  v.     To  suffer  great  pain. 

EUelli,  «.     Suffering,  pain. 

Ellelquixtia,  v.     To  cause  joy,  to  make  glad. 

Elleltia,  v.     Ref.,\o  regret,  to  repent,  to  abstain  ;  act.,  to  prevent, 

to  hinder,  to  impede,  to  cause  pain. 
Epoalli,  adj.  num.     Sixty 
Eztli,  n.     Blood. 
K 


154  VOCABULARY.  •  ' 

Huahuaqui,  v.     To  dry  up,  to  wither  wholly.     VIII,  i. 

Hual,  adv.     Hither,  toward  this  place. 

Huallauh,  v.  irreg.     To  come  hither. 

Yi\i.3.n, postpos.     In  company  with;  also,  a  plural  termination. 

Huapalcalli,  n.     Houses  of  planks.     See  XVIII,  i. 

Huaqui,  v.     To  dry  up,  to  wither. 

Huecapan,  adj.     Lofty. 

Huecatlan,  adj.     Deep,  profound. 

Huehuetl,  «.     A  drum.     See  page  22. 

Huehuetzi,  v.freq.     To  fall  often. 

Hueiyotl,  ;/.     Greatness,  grandeur. 

Huel,  adv.     Well,  good,  pleasant. 

Huelic,  adj.     Sweet,  pleasant,  fragrant. 

Huelmana,  v.     To  make  smooth,  or  even  ;  to  polish,  to  burnish. 

Huetzcani,  ;/.     A  jester,  a  laugher.     XXI.  i. 

Huetzi,  V.     To  fall. 

Huetztoc,  V.     To  be  stretched  out,  to  be  in  bed. 

Huey,  adj.     Great,  large. 

Hueyatlan,  n.     Place  of  increase,  from  hueya,  to  grow  greater. 

"i^ysxz,  postpos.     Toward,  against. 

Huica,  V.     To  accompany ;  to  carry  off;   to  govern,  to  rule,  to 

direct. 
Huihuica,  v.     To  follow  in  crowds,  or  often. 
Huihuitequi,  v.     To  gather,  to  pluck. 

Huilohuayan,  n.     Bourne,  goal,  terminus  ;  from  hiiiloa,  all  go. 
Huipana,  v.     To  put  in  order,  to  arrange. 
Huitomi,  v.     To  split,  to  fall.     XVI 11,  4. 

Huitz,  v.     To  come.  ^ 

Huitzitzicatin,  n.     The  humming  bird.     I,  i. 
Huitzitzihn,  n.     The  humming  bird,  Trochilus. 
Huitzli,  71.     A  thorn,  especially  of  the  maguey.  I 

Huitztlan,  n.     The  south ;  huitztlainpa,  from  or  to  the  south. 

I,  V.     Pret.  oic.     To  drink. 

Itpron.     His,  her,  its,  their. 

Ic,  cotij.  For,  since,  because;  prep.  With,  towards,  by,  in; 
adv.  Where  ?  when  ?  zan  ic,  as  soon  as,  often,  only,  on  pur- 
pose. 

lea.,  posi.     With  him,  her,  it,  etc. 

lea,  adv.     Sometimes,  occasionally. 

Icac,  V.     To  stand  upright. 


VOCABULARY.  155 

Icahuaca,  :'.     To  sing  (of  birds). 

Icali,  :'.     To  war,  to  fight.     VI,  5. 

Icauhtli,  n.     Younger  brother.     VII,  2. 

Icelia,  :'.     To  incite  another,  to  devote  one's  self  to. 

Icnelia,  :-.     To  do  good,  to  benefit. 

Icniuhtli,  //.     A  friend,  a  companion  ;  toctiihuan,  our  friends. 

Icnopillahuelilocati,  v.     To  be  ungrateful. 

Icnotlamachtia,  v.     To  excite  compassion. 

lcTp3iC,  postpos.     Upon,  over. 

Ihuan,  coiij.     And,  also. 

Ihui,  adv.     Of  this  kind,  in  this  way. 

Ihuinti,  V.     To  intoxicate,  to  make  drunk. 

Ihuitl,  n.     Feather,  plumage. 

Ilacatziui,  v.     To  twist,  to  twine. 

Ilacatzoa,  v.     To  twine  around,  to  wind  about.     X\    2. 

Ilcahua,  v.     To  forget. 

Ilhuia,  z\     To  speak,  to  say,  to  tell. 

Ilhuicatl,  n.     Heaven,  the  sky. 

Ilnamiquilia,  v.     To  remember,  to  call  to  mind. 

Ilpia,  V.     To  bind,  to  fasten. 

Im.     See  in. 

Imati,  V.  To  be  skillful  or  wise  ;  to  prepare  or  arrange  some- 
thing skillfully. 

In,  art.  and  pron.  He,  they,  the,  which,  etc.  ;  in  ma  oc,  mean- 
while ;  /«  ic,  so  that,  in  order  that. 

Inaya,  v.     To  confer,  to  hide.     X,  2. 

Inecui,  v.     To  smell  something,  to  perceive  an  odor.     IV,  6. 

Inic,  adv.     For,  in  order  that,  after  that. 

Inin,  pron.     These,  they. 

Iniquac,  conj.     When. 

Inne,  conj.     But. 

Inoc,  adv.     While,  during. 

Inon,  pro7t.     Those. 

Intla,  conj.     If. 

Intlacamo,  adv.     Unless,  if  not. 

Ipalnemoani,  «.     A  name  of  God.     See  III,  i,  note. 

Ipampa,  adv.     Because. 

Ipotoctli,  ;/.     Smoke,  vapor,  exhalation. 

Itauhcayotl,  n.     Fame,  honor.     XVII,  14. 

Ithua,  V.     To  see.  for  itta.     XV,  6. 

Itia,  V.     I.  To  drink;  to  cause  to  drink.     2.  To  suit,  to  fit. 


156  VOCABULARY. 

Itic,  posfpos.     Within,  inside  of. 

Itlani,  V.     To  ask,  to  solicit,  to  demand. 

Itoa,  V.     To  say,  to  speak,  to  tell. 

Itonaliztli,  ;/.     Sweat ;  fig.,  hard  work.     VI,  5. 

Itotia,  n.     To  dance  in  the  native  fashion. 

Itotiliztli,  n.     Dance. 

Itta,  V.     To  see,  to  behold. 

Ittitia,  V.     To  show,  to  make  evident. 

Itzmolini,  v.     To  be  born,  to  sprout,  to  grow.     XX,  4. 

Itztapalli,  n.     Paving  stone.     XV,  S. 

Itztoc,  V.     To  watch,  to  keep  awake,  to  wait  for.     XVII,  12. 

Ixamayo,  adj.     Known,  recognized.     XIII,  2. 

Ixayotl.  n.     A  tear  (from  the  eyes). 

Ixcuitia,  V.     To  take  example. 

Iximachoca,  n.     The  knowledge  of  a  person. 

Iximati,  v.     To  know  personally. 

Ixitia,  V,     To  awake,  to  arouse. 

Ixpan,  postpos.     Before  the  face  of,  in  presence  of. 

Ixquich,  adv.     As  many  as. 

Ixtia,  V.     To  face  a  person,  especially  the  enemy  ;  to  watch- 

Ixtlahuatl,  n.     Open  field,  savanna,  desert. 

\-&.\.\z.x\,  postpos.     Before  the  face  of. 

Ixtli,  n.    Face,  visage  ;  eye. 

Iza,  V.     To  awaken,  to  arouse. 

Izcali,  V.    To  arise,  to  rise  up. 

Izhuatl,  n.     A  leaf  of  a,tree,  etc. 

Izhuayo,  adj.     Leafy,  with  leaves. 

Izqui,  adj.,  pi.  izquintin.    As  many,  so  many,  all ;  izqui  in  quezqui, 

as  many  as. 
Iztac,  adj.     White. 
Iztlacahuia,  v.     To  deceive,  to  cheat. 
Iztlacoa,  V.     To  search  for;  ref.,  to  take  counsel. 

Ma,  adv.     Sign  of  optative,  subjunctive  and  vetative  ;  ma  oc,  yet 

a  while. 
Maca,  V.     To  give,  to  present. 
Ma  ca,  7ieg.     Do  not. 
Macaic,  adv.     Never. 

Macazo  tlein,  jteg.     No  matter,  for  all  tliat.     VI,  2. 
Macehuallotl,  «.     Servitude,  slavery. 
Maceualti,  v.  defect.     To  merit ;  to  be  happy. 


VOCABULARY.  157 

Macehualtia,  v.     i.  nifio,  to  make  another  a  vassal,  to  reduce  to 
vassalage;  fiite,  to  give   vassals  to  one;  nita,  to  impose  a 
penance  on  one. 
Mach,  adv.     An  intensive  particle. 
Machtia,  v.     To  cause  to  know,  to  teach,  to  learn. 
Maciui,  adv.     Although,  granted  that.     XVII,  13. 
Macquaitl,  n.     The  native  sword.     VI,  4. 
Macuele,  adv.     Would  that — sign  of  the  optative. 
Mahaca,  adv.     Not,  no. 
Mahui,  :•.     To  fear,  to  have  fear. 
Mahuizti,  v.     To  be  esteemed,  to  be  honored. 
Maitl, ;/.     The  hand,  the  arm.     In  comp.  via,  as  noma,  my  hand. 
Malacachoa,  v.     To  twine,  to  fold.     XVI,  4. 
Malhuia,  v.     To  regale,  to  treat  well,  to  take  care  of. 
Malina,  v.     To  twine,  to  wreathe. 
Malintiuh,  v.     To  twine,  to  twist,  to  enwreathe. 
Mamalia,  :'.     To  carry. 

Mamalli,  v.     To  enter,  to  penetrate.     XII,  4. 
Mamana,  :'.     To  arrange  a  feast,  to  set  in  order.     XV,  15. 
Mamani,  v.     See  Mani. 
Mana,  v.     To  offer  offerings.     XVII,  3. 
Manca,  :-.     Imp.  of  JMani. 

Manen,  neg.     That  not,  that  it  does  not  happen,  etc. 
Mani,  v.     To  be  (of  broad  or  wide  things);  to  be  stretched  out. 
Manozo,  adv.     Or,  if. 

Maquiztli,  n.     A  bracelet  or  other  ornament  of  the  arm.     Ill,  5. 
Mati,  z'.     To  know.     J?e/.,  to  think,  to  reRect;  gui-maii  rioyo//o, 
I  presume,  I  doubt ;  nonno-mati,  I  attach  myself  to  a  person 
or  thing. 
Matiloa,  v.     To  anoint,  to  rub. 
Mazo,  adv.     Although. 
Meya,  :■.     To  flow,  to  trickle. 
Miahuatototl,  n.     A  bird.     IV,  2. 
Micohuani,  adj.     Mortal,  deadly. 
Miec,  adv.     Much,  many. 
Milli,  11.     Cultivated  field. 
Miqui,  v.     To  die,  to  kill. 
Miquitlani,  v.     To  desire  death.     X,  i. 
y\.\\z,pron.     Thee,  to  thee. 

Mixitl,  n.     A  narcotic  plant.     See  tlapatl.     IX,  2. 
Mixtecomatl,  n.     A  dark  night,  a  dark  place.     Ill,  4- 


158  VOCABULARY. 

Mizquitl,  n.     The  mesquite.     XV,  i. 

Mo,  pron.     i.  Thy,  thine;  2.  Pron.  ref.   3  sing.,  he,  him,   they, 

them. 
Mochi,  adj.     All. 
Mochipa,  adv.     Always. 

Moliniani,  n.     One  who  moves,  or  agitates.     XVI,  3. 
Momolotza,  v.     To  cause  to  foam,  to  cut  to  pieces.     XII,  3. 
Motelchiuh,  71.     The  governor   of  Tenochtitlan.     XIII,  S.— See 

telcliilnia. 
Motla,  r-.     To  throw,  to  fall.     I,  i. 
Motlali,  adj.     Seated,  placed,  in  repose. 
Moyaua,  v.      To   conquer ;   to    become    cloudy  or  troubled  (of 

water) ;  to  talk  about ;  to  boast. 
Moztla,  adv.     To-morrow. 

\i\&\m3iZ,  postpos.     Toward,  by,  along,  near  to. 

Nahui,  adj.  man.     Four. 

Nalquixtia,  v.     To  cause  to  penetrate,  causative  of  nalqiiiza,  to 

penetrate. 
Nananquilia,  v.     To  answer,  to  reply  to. 
Nantli,  ;;.     Mother,  tonan,  our  mother,  etc. 
Nauhcampa,  adv.     In  four  directions,  to  four  places. 
li&,pron.     Reflexive  pronoun  3d  person  in  verbal  substantives 

and  impersonal  verbs. 
Ne,pron.  for  nehuatl.     I,  me. 
Necaliztli,  n.     Battle,  combat. 
Nech,/>rc«.     ]\Ie,  to  me. 
Nechca,  adv.    There,  down  there  ;  like  the  French  la-bas ;  oc ye 

iicchca,  formerly,  once. 
Neci,  V.     To  appear,  to  show  one's  self  or  others. 
Neco,  V.     Pass,  of  negui,  q.  v. 
Nectia,  v.     To  desire,  to  wish  for. 
NecuiltonoUi,  n.     Riches,  possessions. 
Neicaloloyan,  ;/.     The  field  of  battle. 

Neiximachoyan,  ;/.     A  place  where  one  is  taught.     XIII,  i. 
Nel,  adv.     Hut. 

Nelhuayotl,  n.     A  root ;  Jig.,  principle,  foundation,  essence. 
Nelihui,  adv.     It  is  thus,  even  thus ;  viazo  nelihui,  though  it  be 

thus. 
Nelli,  adv.     Truly,  verily. 
Neloa,  V.    To  mingle,  to  shake,  to  beat. 


VOCABULARY.  159 

Neltia,  --.     To  verify,  to  make  true. 

Nemactia,  :-,     i.  To  receive,  to  obtain.     2.  To  give,  to  grant. 

Nemayan,  adv.     In  the  course  of  the  year.     XII,  3. 

Nemi,  r.    To  live,  to  dwell,  to  walk. 

Nemoa,  v.  impers.     To  live,  to  dwell. 

Nen,  adv.     Vainly,  in  vain. 

Nenchiua,  v.     To  do  in  vain, 

Nenectia,  v.     To  obtain  by  effort.     XII,  4. 

Neneliuhtica,  adj.     Mixed  up,  mingled  together. 

Neneloa,  v.     To  mix,  to  mingle. 

Nenepanoa,  v.freq.     To  mix,  to  mingle.     XVII,  i. 

Nenequi,  v.     To  act  tyrannically;  to  feign;  to  covet.     XI,  7. 

Nennemi,  v.     To  wander  about. 

Nenonotzalcuicatl,  ;/.     A  song  of  exhortation. 

Nentaci,  :■.     To  fail,  to  come  to  naught.     XVII,  13,  14. 

Nentlamachtia,  v.  ref.     To  afflict  one's  self,  to  torment  one's  self. 

Nentlamati,  v.     To  be  afflicted,  disconsolate. 

Nepa,  adv.    Here,  there.     Ye  nepa,  a  little  further,  beyond.     XXI, 

6.     Oc  nepa,  further  on. 
Nepaniui,  v.     To  join,  to  unite. 
Nepantla,  posfpos.     In  the  midst  of. 
Nepapan,  adj.     Various,  diverse,  different. 
Nepohualoyan,  11.    The  place  where  one  is  reckoned,  read,  or 

counted.     VI,  2. 
Negni,  v.     To  wish,  to  desire. 
Netlamachtiliztli,  n.     Riches,  property. 
Netlamachtiloyan,  ;/.     A  prosperous  place.     IV,  6  ;  VII,  4. 
Netlanehuihuia,  v.    To  have  an  abundance  of  all  things.    XXVI,  i. 
Netotiliztli,  ;/.     Dance,  dancing. 
Netotiloyan,  jt.     Place  of  dancing. 
m,  pro?!.  pej'S.     I.     Before  a  vowel,  «. 
Nican,  adj.     Here,  hither. 

Nihui,  adz'.     From  no-i'/iut,  thus,  of  the  same  manner.     XVIII,  3. 
Niman,  adv.     Soon,  promptly. 
Nino,  pron.  ref.     I  myself. 
Nipa,  adv.     Here,  in  this  part,  there. 
No,  rto':'.     Also,  like,     ^/c'j/^/i,  in  the  same  way,  thus.    Pron.lly^ 

mine. 
Noca,  pron.     For  me,  for  my  sake,  by  me. 
Nohuan, />;'(?«.     With  me. 
Nohuiampa,  adv.     In  all  directions,  on  all  sides. 


160  VOCABULARY. 

Nohuian,  adv.     Everywhere,  on  all  sides. 

Nonoyan,  «.     Place  of  residence.     V,  2. 

Nonotza,  v.     To  consult,  to  take  counsel,  to  reflect. 

Notza,  V.     To  call  some  one. 

Nozan,  adv.     Even  yet,  and  yet,  to  this  day. 

Obispo, «.     Bishop.  Span.    XIX,  4. 

Oc,  adv.     Yet,  again  ;  oc  achi,  yet  a  little ;  oc  achi  ic,  yet  more, 

comparative;  oc pe,  first,  foremost. 
Ocelotl,  «.     The  tiger;  a  warrior  so  called.     See  note  to  I,  5. 
Ocoxochitl,  n.     A  fragrant  mountain  flower.     Ill,  2. 
Octicatl,  71.     See  note  to  VII,  i. 

Octli,  n.     The  native  wine  from  the  maguey.     In  comp.,  oc. 
Ohuaga,  hiterj.     Oh  !  alas  ! 
Ohui.  adj.     Difficult,  dangerous. 

Ohuicaloyan,  n.     A  difficult  or  dangerous  place.     XXII,  7. 
Ohuican,  n.     A  difficult  or  dangerous  place. 
Ome,  adj.     Two. 
Omitl,  n.     A  bone. 
Ompa,  adv.     Where. 
On,  adv.     A  euphonic  particle,  sometimes  indicating  action  at  a 

distance,  at  other  times  generalizing  the  action  of  the  verb. 
Oncan,  adv.    There,  thither. 
Onoc,  V.     To  be  lying  down. 
Oppa,  adv.     A  second  time,  twice. 
Oquichtli,  71.     A  male,  a  man. 
Otli,  n.     Path,  road,  way. 

Otomitl,  ;/.     An  Otomi ;  a  military  officer  so  called. 
Otoncuicatl,  «.     An  Otomi  song.     II,  i. 

Pachiui  noyollo,  v.     I  am  content,  satisfied.     IX,  2. 

Pacqui,  v.     To  please,  to  delight. 

Pactli,  ;;.     Pleasure,  joy. 

"PaX,  posfpos.     By,  by  means  of. 

Pampa,  postpos.     For,  because. 

Pan,  postpos.     Upon ;  apan,  upon  the  water. 

Papalotl,  71.     The  butterfly. 

Papaqui,  v.     To  cause  great  joy. 

Patiuhtli.w.     Price,  wages,  reward. 

Patlahuac,  adj.     Large,  spacious. 

Patlani,  v.     To  fly. 


\  VOCABULARY.  IGl 

Pehua,  7'.     Pret.,  openh,  to  begin,  to  commence. 

Pepetlaca,  :-.     To  shine,  to  glitter. 

Pepetlaquiltia,  v.     To  cause  to  shine. 

Petlacoatl,  n.     The  scolopender,  the  centipede.     XVII,  24. 

Petlatl,  >!.     A  mat,  a  rug  (of  reeds  or   flags)  ;  Jig.,   power,   au- 

tliority. 
Petlatotlin,  n.     A  rush  suitable  to  make  mats.     XXI,  10. 
Petlaua,  v.     To  polish,  to  rub  to  brightness. 
Peuhcayotl,  n.     Beginning,  commencement. 
Pilihui,  V.    To  fasten  to,  to  mingle  with.     XXL 
Pilihuitl, «,     Beloved  child.     XII,  3. 
Pilli,  n.     Son,  daughter,  child.     A  noble,  a  chief,  a  ruler,  a  lord. 

Tepilhuan,  the  children,  the  young  people.    Nopiltzin,  my  lord. 
Piloa,  V.     To  hang  down,  to  suspend. 
Piltihua,  :-.     To  be  a  boy,  to  be  young. 
Pipixaui,  v.     To  snow,  to  rain  heavily. 
Pixaui,  V.     To  snow,  to  rain. 

Pochotl,  n.     The  ceiba  tree;  fig.,  protector,  chief. 
Poctli,  ;/.     Smoke,  vapor,  fog,  mist. 
Poloa,  :•.     To  destroy  ;  to  perish. 
Popoloa,  V.     Freq.  o{  poloa. 

Popoyauhtiuh,  v.     To  leave  a  glorious  memory.     XXI,  5. 
Poxahua,  v.     To  work  the  soil,  to  labor. 
Poyaua,  v.     To  color,  to  dye.     XVII,  21. 
Poyaui,  :■.     To  become  clear,  to  clear  off. 
Poyomatl,  ;/.     A  flower  like  the  rose.     IV,  6. 
Pozoni,  V.     To  boil,  to  seethe  ;  fig.,  to  be  angry. 

Qua,  V.    To  eat. 

Quahtla,  n.     Forest,  woods. 

Quahuitl,  ;/.     A  tree  ;  a  stick  ;  fig.,  chastisement. 

Quaitl,  n.     Head,  top,  summit. 

Qualani,  v.     To  anger,  to  irritate. 

Qualli,  adj.     Good,  pleasant. 

Quatlapana,  v.    To  break  one's  head ;  to  suffer  much. 

Quauhtli,  n.  The  eagle;  a  warrior  so  called  ;  bravery,  distinc- 
tion.    I,  5. 

Quemach,  adv.     Is  it  possible! 

Quemmach  amique,  rcl.  Those  who  are  happy,  the  happy  ones. 
IX,  2. 

Quenami,  adv.     As,  the  same  as. 


162  VOCABULARY. 

Quenami  can,  adv.    As  there,  the  same  as  there,  sometimes  with 

ofi  euphonic  inserted,  queno7iami. 
Quenin,  adj.     How,  how  much. 

Quennel,  adv.     What  is  to  be  done  ?    What  remedy  ? 
Quennonamican.     See  under  quetiami. 
Quequentia,  v.     To  clothe,  to  attire. 

Quetza,  v.     Nino,  to  rise  up  ;  to  unite  with  ;  to  aid  ;  nife,  to  lift  up. 
Quetzalli,  ;/.     A  beautiful   feather;  Jig.,  something  precious  or 

beautiful. 
Quetzaltototl,  n.     A  bird  ;   Trogon  pavoninus. 
Quexquich,  pron.     So  many  as,  how  much. 
Qui, proH.  rcl.    He,  her,  it,  they,  them. 
Quiauatl,  ;/.     Entrance,  door.     XVII,  i8. 
Quiauitl,  ;/.     Rain,  a  shower. 

Quimiloa,  y.     To  wrap  up,  to  clothe,  to  shroud  the  dead.     XI,  6. 
Q\x\n,profi.rel.     They,  then. 
Quiquinaca,  :-.     To  groan,  to  buzz,  etc. 
Quiquizoa,  v.     To  ring  bells.     IV,  3. 
Quiza,  V.     To  go  forth,  to  emerge. 
Quizqui,  adj.    Separated,  divided. 
Quiztiquiza,  v.     To  go  forth  hastily.     XXII. 

Tapalcayoa,  v.    To  be  full  of  potsherds  and  broken  bits.    XV,  16. 

Tatli, ;/.  and  v.     See  p.  19. 

Te,  pron.  pers.     1.  Thou.     2.  Pron.  rel.  indef.     Somebody. 

Teahuiaca,  adj.     Pleasing,  agreeable. 

Teca,  pron.    Of  some  one ;  te  and  ca. 

Teca,  V.     To  stretch  out,  to  sleep  ;  to  concern  one's  self  with. 

Moteca,  they  unite  together. 
Tech,  posfpos.     In,  upon,  from.     Pron.     Us. 
Tecocolia,  ;/.     A  hated  person,  an  enemy. 
Tecomapiloa,  n.     A  musical  instrument.     See  p.  23. 
Tecpilli,  ;/.     Nobleman,  lord. 

Tecpillotl,  n.     The  nobility  ;  noble  bearing,  courtesy. 
T&hua-n, pron.     i.  We.     2.  With  some  one. 
Tehuatl,/);-t);/.     Thou. 
Teini,  v.     To  break,  to  fracture. 
Tel,  conj.     But,  though. 
Telchihua,  :-.     To  detest,  to  hate,  to  curse. 
Tema,  :'.     To  place  something  somewhere. 
Temachia,  v.     To  have  confidence  in,  to  expect,  to  hope  for. 


i 


VOCABULARY.  1G3 

Temt,  r-.     To  be  filled,  replete  ;  to  be  stretched  out.     XXVI,  4. 

Temiqui,  :•.     To  dream. 

Temo,  V.     To  descend,  to  let  fall. 

Temoa,  v.     To  search,  to  seek. 

Tenamitl,  ;/.     A  town;  the  wall  of  a  town. 

Tenauac,  posf.     With  some  one,  near  some  one. 

Tenmati,  :■.     To  be  idle,  negligent,  unfortunate. 

Tenquixtia,  v.     To  speak  forth,  to  pronounce,  to  declare. 

Tenyotl,  n.     Fame,  honor. 

Teoatl,  ;/.     Divine  water.    See  VI,  4,  note. 

Teocuitla,  «.     Gold,  of  gold. 

Teohua,  ;/.     A  priest.     XVII,  19. 

Teoquechol,  «.     A  bird  of  beautiful  plumage. 

Teotl,  II.     God,  divinity. 

Teoxihuitl, ;/.  'Turquoise  ;  Jig.,  relation,  ruler,  parent. 

Tepacca,  adj.     Causing  joy,  pleasurable. 

Tepeitic,  n.     Narrow  valley,  glade,  glen. 

Tepetl,  ;/.     A  mountain,  a  hill. 

Tepeua,  v.     To  spread  abroad,  to  scatter,  to  conquer.     XV,  3. 

Teponaztli,  n.     A  drum.     See  p.  22. 

Tepopoloani,  v.     To  slay,  to  slaughter. 

Tequani,  ;/.     A  wild  beast,  a  savage  person. 

Tequi,  :'.     To  cut. 

Tetecuica,  v.     To  make  a  loud  noise,  to  thunder.     XX,  7. 

Tetl,  71.     A  stone,  a  rock.     In  comp.,  te. 

Tetlamachti,  ;/.     That  which  enriches,  glorifies,  or  pleases. 

Tetlaquauac,  rt(^'.     Hard  or  strong  as  stone.     Comp.  of /f// and 

ilaquauac. 
Tetozcatemo,  v.     To  let  fall  or  throw  forth  notes  of  singing.   I,  2. 
Tetzilacatl,  ;/.     A  copper  gong.     XVII,  21.     See  p.  24. 
Teuctli,  ;/.,  pi.  tetenctin.     A  noble,  a  ruler,  a  lord;  in  teteudin, 

the  lords,  the  great  ones. 
Teucyotl,  «.     Nobility,  lordship. 
Teuh,  postpos.     Like,  similar  to. 
Teuhyotl,  n.     Divinity,  divineness. 
Teyolquima,  adj.     Pleasing,  odorous,  sweet. 
Teyotl,  ;;.     Fame,  honor. 

Ti,  pron.     i.  thou  ;  tivio,  ref.  ;  tic,  act.     2.   we  ;  tito,  ref  ;  tic,  act. 
Tilani,  v.     To  draw  out. 
Tilini,  v.     To  crowd,  to  press.     XVII,  19. 
Timaloa,  v.     To  glorify,  to  e.xalt,  to  praise. 


164 


VOCABULARY. 


Timo,  pron.  ref.     Thou  thyself. 

Tito, pron.  ref.     We  ourselves. 

Tizaitl,  n.     Chalk ;  anything  white  ;  an  example  or  model. 

Tizaoctli,;/.     White  wine.     See  VII,  2. 

Tla,  adv.,  for  ititla,  if;  pron.  ifidef.,  something,  anything  ;  postpos. 

in  abundance. 
Tlacace,  interj.  Expressing  astonishment  or  admiration.  XVII,  3. 
Tlacaqui,  v.     To  hear,  to  understand. 
Tlacateuctli,  w.     A  sovereign,  a  ruler.    • 
Tlacati,  v.     To  be  born. 
Tlacatl,  n.     Creature,  person. 
TIacazo,  adv.     Truly,  certainly. 
Tlachia,  v.    To  see,  to  look  upon. 
TIachihual, ;/.     Creature,  invention. 
Tlachinolli,  n.     Battle,  war  ;  from  chinoa,  to  burn. 
Tlacoa,  v.     To  injure,  to  do  evil,  to  sin. 
Tlacochtli,  «.     The  arrow. 
Tlacocoa,  v.     To  buy,  to  purchase.     X,  i. 
Tlacohua,  v.    To  buy,  to  purchase. 
Tlacohua,  v.     To  beat,  to  chastise. 
Tlacotli, ;/.     A  servant,  slave. 
Tlacouia,  v.     To  split,  to  splinter. 
Tlacuiloa,  v.     To  inscribe,  to  paint  in,  to  write  down. 
TIaelehuiani,  adj.     Desirous  of,  anxious  for. 
Tlahuelli,  ;/.     Anger,  ire. 
TIahuica,  w.     Servant,  page ;  also,  a  native  of  the  province  of 

Tlahuican.     (See  Index.) 
TIailotlaqui,  ;/.     "  Workers   in  filth  ; "  scum ;  a  term  applied  in 

contempt.     XIII,  8  ;  XV,  12,  14.     Also  a  proper  name.     (See 

Ltd  ex.) 
Tlalaquia,  v.     To  bury,  to  inter. 
Tlalli,  ;/.     Earth,  ground  ;  tlalticpac,  on  the  earth. 
Tlalnamiqui,  v.     To  think  of,  to  remember. 
Tlalpiloni,  n.     An  ornament  for  the  head.     VI,  4,  from  iipia. 
Tlamachti,  v.  ref.     To  be  rich,  happy,  prosperous. 
TlamahuizoUi,  ;/.     Miracle,  wonder. 

Tlamatillolli,;/.     Ointment;  anything  rubbed  in  the  hands.  XI,  9. 
Tlamatqui,  adj.     Skillful,  adroit. 
Tlamattica,  adj.     Calm,  tranquil. 
Tlamelauhcayotl,  w.     A  plain  or  direct  song.     II,  i. 
Tlami,  v.     To  end,  to  finish,  to  come  to  an  end. 


VOCABULARY.  165 

Tlamomoyaua,  :-.     To  scatter,  to  destroy.    XV,  21. 

Tlan,  posfpos.     Near  to,  among,  at. 

Tlaneci,  v.    To  dawn,  to  become  day.     Ye  tlaneci,  the  day  breaks. 

Tlanehuia,  v.     Nicno.  To  revel,  to  indulge  one's  self  in.    XXI,  8. 

Tlaneltoca,  v.     To  believe  in,  to  have  faitli  in. 

Tlania,  v.     To  recover  one's  self,  to  return  within  one's  self. 

Tlaniicza,  v.     To  abase,  to  humble.     IX,  3. 

Tlantia,  v.     To  terminate,  to  end. 

Tlaocol,  adj.    Sad,  melancholy,  pitiful,  merciful. 

Tlaocolia,  v.     To  be  sad,  etc. 

Tlaocoltzatzia,  v.     To  cry  aloud  with  grief.     I,  3. 

TIapalhuia,  v.,rel.     To  be  brilliant   or  happy;  act.,  to  salute  a 

person  ;  to  paint  something. 
Tlapalli,  ;/.and  at^'.     Colored;  dyed;  red. 
Tlapaloa,  v.     To  salute,  to  greet. 
Tlapanahuia,  adj.     Surpassing,  superior,  excellent ;  used  to  form 

superlatives. 
Tlapani,  v.     To  dye,  to  color.     XVII,  10. 
Tlapapalli,  adj.     Striped,  in  stripes. 
Tlapatl,  n.    The  castor-oil  plant ;  the  phrase  viixitl  tlapatl  means 

stupor,  intoxication.     IX,  2. 
Tlapepetlani,  v.     To  sparkle,  to  shine  forth. 
Tlapitza,  v.     Yr.pitza,  to  play  the  flute.     XVII,  26. 
Tlaqualli,  ;/.     Food,  eatables. 
Tlaquauac,  adj.     Strong,  hard. 
Tlaquauh,  adj.     Strongly,  forcibly. 
Tlaquilla,  adj.     Stopped  up,  filled.     XX,  4, 
Tlaquilqui,  n.     One  who  plasters,  a  mason.     XXI,  i. 
Tlatemmati,  v.     To  suffer  afflictions. 
Tlatenehua,  v.     To  promise. 
Tlathui,  V.     To  dawn,  to  become  light. 
Tlatia,  v.     i.  To  hide,  to  conceal ;  2.  to  burn,  to  set  on  fire. 
Tlatlamantitica,  adj.     Divided,  separated. 
Tlatlatoa,  v.     To  speak  much  or  frequently.     XVII,  11. 
Tlatlauhtia,  v.     To  pray.     XVI,  3. 
Tlatoani,  n.     Ruler,  lord. 

Tlatocayotl, ;/.     The  quality  of  governing  or  ruling. 
Tlatolli,  71.     Word,  speech,  order. 
Tlatzihui,  v.     To  neglect,  to  be  negligent ;  to  be  abandoned,  to 

lie  fallow  ;  to  leave,  to  withdraw. 
Tlauantli,  71.     Vase,  cup.     XXVI,  4. 


166  VOCABULARY. 

Tlauhquechol,  n.     A  bird,  the  red  heron,  Platalea  ajaja. 
Tlauillotl,  «.     Clearness,  hght.     X,  i. 
Tlaxillotia,  v.     To  arrange,  sustain,  support.     IX,  4. 
Tlaxixinia,  v.     To  disperse,  to  destroy. 
Tlayaua,  v.    To  make  an  encircling  figure  in  dancing. 
TlayaualoUi,  adj.    Encircled,  surrounded.     XXI,  6. 
Tlaylotlaqui,  ;/.     See  XIII,  8. 

Tlayocolia,  v.     To  make,  to  form,  to  invent.     XIV. 
Tlayocoyalli,  n.     Creature,  invention. 
Tlaza,  V.    To  throw  away  ;  fig.,  to  reject,  to  despise. 
Tlazotla,  v.     To  love,  to  like. 
Tie,  pro?i.  int.  and  rel.     What  ?     That. 
Tleahua,  ^^     To  set  on  fire,  to  fire. 
Tlein,  pron.,  int.  and  I'el.     What  ?    That. 
Tleinmach,  adv.     Why  ?     For  what  reason  ? 
Tlenamactli,  ;/.     Incense  burned  to  the  gods.     Ill,  i. 
Tlepetztic,  a(7)'.    Shining  like  fire, //^//./^/^-//c     XV,  26. 
Tletl,  n.     Fire. 

Tleymach,  adv.    Why  ?    Wherefore  ? 
Tleyotl,  n.     Fame,  honor. 

Tlezannen,  adv.     To  what  good  ?     Cui  bono  ? 
Tliliuhqui,  adj.     Black,  brown. 
Tliliui,  V.    To  blacken,  to  paint  black.     XII,  6. 
Tloc,  postpos.    With,  near  to. 

Tloque  nahuaque, ;/.    A  name  of  divinity.     See  I,  6,  note. 
To,  proH.  posses.     Our,  ours. 
Toca,  V.     To  follow. 

Toci,  n.     "  Our  ancestress,"  a  divinity  so  called. 
Toco,  V.     Impers.  of  toca. 
Tohuan,  pron.     With  us. 
Tolinia,  v.     To  be  poor,  to  be  unfortunate. 

Tolquatectitlan,  ti.     The  place  where  the  head  is  bowed  for  lus- 
tration.    Ill,  I. 
Toma,  V.    To  loosen,  to  untie,  to  open.     XVII,  3. 
Tomahuac,  adj.     Great,  heavy,  large. 
Tonacati,  v.     To  be  prosperous  or  fertile. 
Tonacatlalli,  ;/.     Rich  or  fertile  land. 
Tonameyo,  adj.     Shining  like  the  sun,  glittering. 
Tonameyotl,  n.     Ray  of  the  sun,  light,  brilliancy. 
Tonatiuh,  n.     The  sun. 
Toneua,  v.     To  suffer  pain  ;  nitc,  to  infiict  pain. 


VOCABULARY.  1G7 

Toquichpohuan,  n.     Our  equals.     I,  3. 

Tototl,  ;/.     A  bird,  generic  term. 

Tozmilini,  adj.     Sweet  voiced.     XXI,  3. 

Toznenetl,  ;/.     A  parrot,  Psittaais  signaius. 

Tozquitl,  //.     The  singing  voice,  p.  21. 

Tzalan,  postpos.    Among,  amid. 

Tzatzia,  v.     To  shout,  to  cry  aloud. 

Tzauhqui,  v.     To  spin.     XVII,  22. 

Tzetzehui,  v.     To  rain,  to  snow ;  fig.,  to  pour  down. 

Tzihuac,  ;/.     A  species  of  bush.     XV,  i. 

Tzimiquiliztli,  n.     Slaughter,  death.     XVI,  5. 

Tzinitzcan,  ;/.     A  bird,  Trogon  Mexicanus. 

Tzitzilini,  ;/.     A  bell. 

Tzotzona,  v.    To  strike  the  drum. 

Uallauh,  :'.     To  come.     See  huallaiih. 

Uitz,  V.     To  come. 

Ulli,  ;/.     Caoutchouc.     See  p.  22. 

Xahua,  v.    To  paint  one's  self,  to  array  one's  self  in  the  ancient 

manner.     XXIV,  i. 
Xamani,  v.     To  break,  to  crack. 
Xaxamatza,  v.     To  cut  in  pieces,  to  break  into  bits. 
Xayacatl,  ;/.     Face,  mask. 
Xelihui,  v.    To  divide,  to  distribute. 
Xexeloa,  v.     To  divide,  to  distribute. 
Xilotl,  ;/.     Ear  of  green  corn. 
Xiloxochitl,  ;/.     The  flower  of  maize.     XVII,  10. 
Ximoayan,  ;/.     A  place  of  departed  souls.     See  I,  8. 
Ximohuayan,  n.     Place  of  departed  spirits.     VIII,  i. 
Xiuhtototl,  n.    A  bird,  Guiaca  cerulea. 
Xiuitl,  ;/.     A  leaf,  plant ;  year  ;  anything  green. 
Xochicalli,  n.     A  house  for  flowers,  or  adorned  witli  tliem. 
Xochimecatl,  ;/.     A  rope  or  garland  of  flowers. 
Xochimicohuayan,  n.     See  XVI,  3,  note. 
Xochitecatl,  ;/.     See  XXV,  7,  note. 
Xochitl,  //.     A  flower,  a  rose. 
Xochiyaotl,  71.     Flower-war.     See  XVI,  4,  note. 
Xocomiqui,  v.     To  intoxicate,  to  become  drunk. 
Xocoya,  v.     To  grow  sour.     XIII,  4. 
Xopaleuac,  ;/.     Something  very  green. 


168  VOCABULARY. 

Xopan,  «.     The  springtime. 

Xotla,  V.     To  blossom,  to  flower;  to  warm,  to  inflame;  to  cue, 

to  scratch,  to  saw. 
Xoxoctic,  adj.     Green  ;  blue.     XVI,  6. 
Xoyacaltitlan,  «.     The  house  or  place  of  decay.     Ill,  i. 

Y.     Abbrev.  for  ihuafi,  and  in,  q.  v. 

Ya,  adv.     Already,  thus;  same  as  ye;   v.,  to  suit,  to  fit.     Part. 

euphonic  or  expletive.     See  note  to  XVII,  3. 
Y&n,  postpos.     Suftix  signifying  place. 
Yancuic,  adj.     New,  fresh,  recent. 
Yancuican,  adv.     Newly,  recently. 
Yaotl,  n.     War,  battle. 
Yaoyotl,  ;/.     Warfare. 

Yaqui,  adj.     Departed,  gone,  left  for  a  place. 
Yauh,  v.,  irreg.     To  go. 
Ye,  adv.     Already,  thus  ;  ye  no  ceppa,   a  second    time  ;  ye  ic, 

already,  it  is  already. 
'^Q,pron.     He,  those,  etc. 
Ye,  adj.  num.     Three. 
Yece,  adv.     But. 
Yecen,  adv.     Finally,  at  last. 
Yecnemi,  v.    To  live  righteously. 
Yecoa,  v.     To  do,  to  finish,  to  conclude. 
Yectenehua,  v.     To  bless,  to  speak  well  of. 
Yectli,  adj.     Good,  worthy,  noble. 
Yehuatl, />;-£»«.     He,  she,  it.     YX.yehuan,  yehuaiitin. 
Yehuia,  v.     To  beg,  to  ask  charity. 
Yeppa  yuhqui.     Formerly,  it  was  there.     VII,  2. 
Yhuintia.    See  ifminti. 

Yocatl,  n.     Goods,  possessions  ;  noyocauh,  my  property.   XV,  26. 
Yocaua,  n.     Master,  possessor,  owner. 
Yocolia,  v.     To  form,  to  make. 
Yocoya,  c'.    To  make,  to  invent,  to  create. 
Yohuatli,  n.     Night,  darkness. 
Yolahuia,  v.     To  rejoice  greatly. 
Yolciahuia,  v.     To  please  one's  self,  to  make  glad. 
Yolcuecuechoa,  v.    To  make  tiie  heart  tremble.     IV,  6. 
Yolehua,  v.     To  excite,  to  animate. 
Yolihuayan,  ;/.     A  place  of  living.     Ill,  5. 
Yollo,  adj.     Adroit,  skillful ;  also  for  iyollo,  his  heart. 


VOCABULARY.  1G9 

YoUotl,  V.     Heart,  mind,  soul. 
Yolnonotza,  v.     See  note  to  I,  i. 
Yolpoxahua,  v.     To  toil  mentally. 
Yuhqui,  adv.     As,  like. 
Yuhquimati,  v.     To  understand,  to  realize. 

Zacatl,  n.     Herbage,  straw,  hay.     XXI,  5. 

Zacuan,  n.     Feather  of  the  zacuan  bird  ;  fig.,  yellow ;  prized. 

Zacuan  tototl,  n.     The  zacuan  bird,  Oriolus  dotninicensis. 

Zan,  adv.     Only,  but;  zan  ciiel,  in  a  short  time  ;  zaneti,  perhaps  ; 

Zan  lien,  in  vain. 
Zancuel  achic,  adv.    A  moment,  an   instant ;  often  ;  za7i  ye,  but 

again,  but  quickly. 
Za.nio,  pro n.     I  alone,  he  or  it  alone. 
Zoa,  V.     To  pierce  ;  to  spread  out ;  to  open ;  to  sew ;  to  string 

together;  to  put  in  order. 
Zolin  tototl,  n.     The  quail. 
Zoma,  V.     To  become  angry. 
Zomale,  adj.     For  comalli,  vase,  cup,     XXVI,  4. 
L 


INDEX 

OF  NAHUATL  PROPER  NAMES,  WITH  EXPLANATIONS. 


AcALLAN,  105.  "The  place  of 
boats,"  from  acalli,  boat.  An 
ancient  province  at  the  mouth 
of  the  Usumacinta  river;  but 
the  name  was  probably  ap- 
plied to  other  localities  also. 

AcATLAPAN,  41.  A  village 
southeast  of  Chalco.  From 
acatia,  a  place  of  reeds,  and 
pan,  in  or  at. 

ACHALCHIUHTLANEXTIN,  46. 

The  first  chief  of  the  Toltecs  ; 
another  form  of  chalchiiihto- 
nac  Both  names  mean  "the 
gleam  of  the  precious  jade." 
Compare  Torque  mada,  Mo7i- 
arquia  Indiana.  Lib.  III., 
cap.  7  ;  Orozco  y  Berra,  Hisl. 
Antigua  de  Mexico, To\\\.  III., 
p.  42.  The  date  of  the  begin- 
ning of  his  reign  is  put  at  a-d. 
667  or  700. 

Acolhuacan,  40,  91,  119.  A 
compound  of  atl,  water,  and 
colhuacan,  (q-v.)  ="Colhua- 
can  by  the  water,"  the  name 
of  the  state  of  which  Tetzcu- 
co  was  the  capital,  in  the  val- 
ley of  Mexico. 

AcoLMizTLAN,89,  from 

AcoLMiZTLi,  35.  A  name  of 
Nezahualcoyotl  (see  p.  35), 
also  of  other  warriors. 

Anahuac,  125.  From  a//,  water, 
nahnac,  by,  =  the  land  by  the 
water.  The  term  was  ap- 
plied first  to  the  land  by  the 
lakes  in  the  Valley  of  iMe.xico, 
and  later  to  that  along  both 
the  Gulf  of  Mexico  and  the 
Pacific  Ocean. 

Atecpan,  77.  "  The  royal  resi- 
dence by  the  water  "  {all,  lec- 
pan).       I    do   not    find    this 


locality  mentioned  else- 
where. 

Atlixco,  125.  "Where  the 
water  shows  its  face "  {all, 
ixlli,  CO).  A  locality  south- 
east of  Tezcuco,  near  the 
lake,  so  called  from  a  large 
spring.  See  Motolinia,  His- 
toria  de  los  Indios,  Trat.  Ill, 
cap.  18. 

Atloyantepetl,  85,  89,  91. 
Perhaps  iox  allauanlepetl ,  "the 
mountain  that  rules  the 
waters  "  But  see  note  to 
xiii,  V.  6. 

Atzalan,  114.  "Amid  the 
waters  "  {all,  Izalan).  Per- 
haps not  a  proper  name;  but 
two  villages  in  the  present 
State  of  Puebla  are  called 
Atzala  (see  Orozco  y  Berra, 
Ceografia  de  las  Lenguas  de 
Mexico,  pp.  212,  213). 

AxAXACATZiN,  43.  Probably 
for  axayacalzin,  reverential  of 
axayacatl,  the  name  of  a 
species  of  marsh  fly.  It  was 
also  the  name  of  the  sixth 
ruler  of  Mexico  (flor.  about 
1500),  and  doubtless  of  other 
distinguished  persons.  See 
Ixtlilxochitl,  Hisloria  Chichi- 
ineca,cap.  51. 

AzcAPOTZALCo,  50,  51.  An  an- 
cient town  in  the  valley  of 
Mexico,  once  the  capital  city 
of  the  Tepanecas  (q.  v.).  The 
word  means  "  place  of  the 
ant-hills,"  from  azcapulzalli. 

Aztecs,  25.  A  Nahuatl  tribe 
who  derived  their  name  from 
their  mythical  ancient  home, 
Aztlan.  The  derivation  is 
obscure,  but  probably  is  from 


171 


172 


INDEX. 


the  same  radical  as  iztac, 
white,  and,  therefore,  Father 
Duran  was  right  in  transla- 
ting Aztlan,  "place  of  white- 
ness," the  reference  being  to 
the  East,  whence  the  Aztecs 
claim  to  have  come.  See 
Duran,  Historia  de  las  Indias, 
cap.  II. 

Cacamatl,  94,  95.     The  refer- 

•  ence  appears  to  be  to  Caca- 
niatzin  (the  Noble  Sad  One, 
from  cacamaua,  fig.  to  be 
sad),  last  ruler  of  Tezcuco, 
son  and  successor,  in  1516,  of 
Nezahualpilli.  He  was  put 
to  death  by  Cortes. 

Catocih,  89.  A  doubtful  word, 
which  may  not  be  a  proper 
name. 

Chalco,  16,  69,  95.  A  town 
and  lake  in  the  valley  of 
Mexico.  The  people  were 
Nahuas  and  subject  to  Mexi- 
co. The  word  is  probably 
derived  from  Challi,  with  the 
postpos.  CO,  meaning  "  at  the 
mouth"  (of  a  river).  See 
Buschmann,  Ueber  die  Az- 
tekische7i  Orlsnatnen,  s.  689, 
and  comp.  Codex  Ramirez, 
p.  18. 

Chiapa,  Chiapaneca,  70,  71. 
The  province  and  inhabitants 
of  Chiapas,  in  Southern  Mex- 
ico. There  were  colonies  of 
Nahuas  in  Chiapas,  though 
most  of  the  natives  spoke 
other  tongues.  The  deriva- 
tion is  probably  from  chia,  a 
mucilaginous  seed  highly  es- 
teemed in  Mexico. 

Chichimecatl  or  Chichi - 
MEGS,  88,  89,  91,  loi.  A  rude 
hunting  tribe,  speaking  Nah- 
uatl,  who  settled,  in  early 
times,  in  the  valley  of  Mexi- 
co. The  name  was  said  to 
be  derived  from  chichi,  a 
dog,  on  account  of  their  de- 


votion to  hunting  [Cod.  Ra- 
mirez). Others  say  it  was 
that  of  their  first  chieftain. 

Chicomoztoc,  88,  89.  "  At  the 
seven  caves,"  the  name  of  the 
mythical  locality  from  which 
the  seven  Nahuatl  tribes  de- 
rived their  origin.  The  Co- 
dex Ramirez  explains  the 
seven  caves  to  mean  the 
seven  houses  or  lineages 
(totems)  of  which  the  nation 
consisted. 

Chililitli,  36.  Name  of  a  tow- 
er of  sacred  import.  It  is 
apparently  a  compound  of 
chia  or  chielia,  to  watch,  and 
tlilli,  blackness,  obscurity, 
hence  "  a  night  w-atch-tow- 
er."  It  was  probably  used 
for  the  study  of  the  sky  at 
night. 

Chimalpopoca,  43.  "  The 
smoking  shield,"  from  chi- 
nialli,  shield,  andpopoca.  The 
name  of  several  distinguished 
warriors  and  rulers  in  an- 
cient Mexico. 

Cholula  or  Cholollan,  105. 
Name  of  a  celebrated  ancient 
state  and  city.  From  choloa, 
with  the  probable  meaning, 
''  place  of  refuge,"  "  place  of 
the  fugitives." 

CiHUAPAN,  41.  Name  of  a  war- 
rior, otherwise  unknown. 
From  cihuatl,  woman,  pan, 
among,  with. 

CoATZiTEUCTLi,  89.  A  name 
compound  of  coatzin,  rever- 
ential form  of  coatl,  serpent, 
and  teucili,  lord. 

CoLHUA.  A  people  of  Nahuatl 
affinity,  who  dwelt  in  ancient 
times  in  the  valley  of  Mexico. 
See  Colhuacan. 

CoLHUACAN,  88,  89,  91.  A  town 
in  the  valley  of  Mexico.  In 
spite  of  the  arguments  to  the 
contrary,  I  believe  the  C0I-. 
hua  were  of  Nahuatl  lineage, 


INDEX. 


173 


and  that  the  name  is  derived 
from  colli,  ancestor ;  colhua- 
can,  the  residence  of  the  an- 
cestors ;  with  this  significa- 
tion, it  was  apphed  to  many 
locahties.  It  must  be  distin- 
guished from  Acolhuacan.  Its 
ikonomatic  symbol  was  a  hill 
bent  over  at  the  top,  from 
coloa,  to  bend. 

CoLZ.\ZTLi,  39.  Probably  for 
Coltzatztli,  one  who  cries  out 
or  calls  to  the  ancestors  {colli, 
tzatzia).  A  chief  whom  I 
have  not  found  elsewhere 
mentioned. 

CoNAHUATZiN,  41.  A  warrior 
not  elsewhere  mentioned. 
By  derivation  it  means 
"noble  son  of  the  lord  of  the 
water"  {conetl,  ahua,  tzin). 

CuETZPALTZiN,  89.  A  proper 
name,  from  cuetzpalli,  the 
4th  day  of  the  month. 

CuEXTLA,  33.  A  province  of 
ancient  Mexico.  See  Tor- 
quemada,  Monarqiiia  Indi- 
ana.    Lib.  II,  caps.  53,  56. 

CuLTEPEC,  42.  A  village  five 
leagues  from  Tezcuco,  at  the 
foot  of  the  mountains.  De- 
riv.,  colli,  ancestor,  tepetl, 
mountain  or  town,  with  post- 
pos.  c;  "  at  the  town  of  the 
ancestors." 

HUETLALPAN  Or  HUETLAPAL- 

LAN,  89.  The  original  seat 
of  the  mythical  Toltecs.  The 
name  is  a  compound  of  hue, 
old,  and  Tlapallan,  q.  v. 

HuEXOTZiNCO,  50,  83,  91,  99, 
113.  An  independent  State 
of  ancient  Anahuac,  south  of 
Tlascala  and  west  of  Cholula. 
The  name  means  "  at  the 
little  willow  woods,"  being  a 
diminutive  from  hiiexatla, 
place  of  willows. 

HuiTLALOTZiN,  89.  From  hu- 
iilalloil,  a    species    of  bird, 


with  the  reverential  termina- 
tion.    Name  of  a  warrior. 

HuiTziLAPOCHTLi,  16.  Tribal 
god  of  the  Me.xirans  of  Te- 
nochtitlan.  The  name  is  usu- 
ally derived  from  hititzitzi- 
lin,  humming  bird,  and 
opochili,  left  {Cod.  Ramirez, 
p.  22),  but  more  correctly  from 
huitztli,  the  south,  iloa,  to 
turn,  opochtli,  the  left  hand, 
"  the  left  hand  turned  toward 
the  south,"  as  this  god  di- 
rected the  wanderings  of  the 
Mexicans  southward.  The 
humming  bird  was  used  as 
the  "ikonomatic"  symbol  of 
the  name. 

HuiTZiLiHuiTL,  89.  "Hum- 
ming-bird feather."  Name  of 
an  ancient  ruler  of  Mexico, 
and  of  other  warriors. 

HuiTZNAHCACATL, 91.  A  ruler 
of  Huexotlan  (Clavigero);  a 
member  of  the  Huitznahua, 
residents  of  the  quarters  so 
called  in  Tezcuco  and  Te- 
nochtitlan  ( Ixtlilxochi  tl , 
Hist.  Chichimeca,  cap.  38). 


IXTLILXOCHITL,    35,   46,   89.      A 

ruler  of  Acolhuacan,  father 
of  Nezahualcoyotl.  Comp. 
ixtli,  face,  tlilxochitl,  tlie 
vanilla  (literally,  the  black 
flower). 
IzTACCOYOTL,  89,  93.  "The 
white  wolf."  Name  of  a  war- 
rior otherwise  unknown. 


Mexicans,  67,  83,  85,  87,  123, 
125.     See 

Mexico,  83,  123.  Name  of  the 
town  and  state  otherwise 
called  Tenochtitlan.  Mcxitl 
was  one  of  the  names  of  the 
national  god  Huitzilopochtli, 
and  Mexico  means  "  the  place 
of  Mexitl,"  indicating  that  the 


174 


INDEX. 


city  was  originally  called 
from  a  fane  of  the  god. 

MiCTLAN,  95,  117,  119.  The 
Mexican  Hades,  literally,"  the 
place  of  the  dead." 

Montezuma,  14,  41,  113.  The 
name  of  the  ruler  of  Mexico 
on  the  arrival  of  Cortes.  The 
proper  form  is  Moteiihzoinat- 
zin  or  Moiecuhzonatzin,  and 
the  meaning,  "  he  who  is 
angry  in  a  noble  manner." 
("  sefior  safiudo,"  Cod.  Ram- 
irez, p.  72  ;  "qui  se  fache  en 
seigneur,"  Simeon,  Diet,  de 
la  Langue  Nahuat/,  s.  v.). 

MoQCiHuix,  33.  The  fourth 
ruler  of  Tlatilolco.  He  as- 
sumed the  power  in  1441,  ac- 
cording to  some  writers 
(Rustamente,  Tezcoco,  en  /os 
Ultinios  Tiempos  de  sus  An- 
tigiios  Reyes,  p.  269).  Tiie 
name  probably  means  "  He 
who  comes  forth  a  freeman." 
See  Ixtlilxochitl,  Historia 
Chichinieca,  caps.  36,  51. 

Nacxitl  Topiltzin,  105,  107. 
NacxitI,  "the  four  footed" 
{nahui,  ixitl),  was  the  name 
of  one  of  the  gods  of  the 
merchants  (Saiiagun,  Hist, 
de  Niieva  Espana,  Lib.  I,  c. 
19).  In  the  song  it  is  applied 
to  Quetzalcoatl,  who  was  also 
regarded  as  a  guardian  of 
merchants. 

Nahuatl  (9,  etc.).  A  term  ap- 
plied to  the  language  other- 
wise known  as  Aztec  or 
Mexican.  As  an  adjective  it 
means  "  well-sounding,"  or, 
pleasant  to  the  ear.  From 
this,  the  term  Nahua  is  used 
collectively  for  all  tribes  who 
spoke  the  Nahuatl  tongue. 
A'a/iuatt  also  means  clever, 
skillful,  and  the  derivation  is 
probably  from  the  root  na,  to 
know. 


Necaxecmitl,  46.  Name  of 
uncertain  meaning  of  a  per- 
son otherwise  unknown. 

Nezahualcoyotl,  35,  67,  119. 
Chief  of  the  Acolhuas,  and 
ruler  in  Tezcuco  from  1427 
to  1472,  or  thereabouts.  He 
was  a  distinguished  patron 
of  the  arts  and  a  celebrated 
poet.     See  p.  35,  et  seq. 

Nezahualpilli,  or  Nezahu- 
alpizintli,  14,  125.  Ruler 
of  Acolhuacan,  son  of  Neza- 
hualcoyotl. His  accession  is 
dated  in  1470  or  1472. 

NoNOHU.ALCo,  105,  125.  Name 
of  one  of  the  quarters  of  the 
ancient  city  of  Mexico ;  also 
of  a  mountain  west  of  the 
valley  of  Mexico.  The  deri- 
vation is  probably  from  orioe, 
to  lie  down  ;  onohua,  to  sleep ; 
onohuayan,  a  settled  spot,  an 
inhabited  place.  The  co  is  a 
postposition. 

Nopal  or  Nopaltzin,  46. 
Ruler  of  Acolhuacan,  a.  d. 
1260-1263,  according  to  some 
chronologies.  The  name  is 
from  iwpalli,  the  cactus  or 
opuntia. 

NopiLTZiN,  67,  91.  "My  son," 
or  "  my  lord,"  a  term  of  def- 
erence applied  to  superiors, 
from  pilli,  which  means  son 
and  also  lord,  like  the  old 
English  child.     Cf.  Topiltzin. 

Otomis,  16,  49,  58,  64,  71,  95. 
A  nation  which  inhabited  a 
portion  of  the  valley  of  Mex- 
ico and  region  adjacent,  en- 
tirely dissimilar  in  language 
and  appearance  from  the 
Nahuas.  The  etymologies 
suggested  are  unsatisfactory. 

Popocatepetl,  46.  "The 
smoking  mountain,"  the 
name  of  a  famous  volcano 


INDEX. 


175 


rising  from  the  valley  of  Mex- 
ico. 

POYAl'HTECATL,  I05.      A  Volca- 

no  near  Orizaba  (Sahagun. 
Hist,  de  Nueva  Espana,  Lib. 
I,  cap.  21).  Derived  from 
poyaiia,  to  color,  to  brighten. 

QUANTZINTECOMATZIN,   4I.      A 

warrior  not  otherwise  known. 
The  name  is  a  double  rever- 
ential, from  quani,  eater,  and 
teconiati,  vase,  "  The  noble 
eater  from  the  royal  dish." 

QVAUHQUECHOLLAN,       95.         A 

village  and  plain  near  the 
southern  base  of  Popocate- 
petl. It  means  "the  place  of 
the  quechol  woods,"  or  the 
trees  among  which  quechol 
birds  are  found.  See  Moto- 
linia,  Historia  de  los  Indios, 
Trat.  Ill,  cap.  18. 
QuAUHxiLOTL,  89.  Name  of  a 
large  tree,  and  applied  to  a 
warrior,  ruler  of  Iztapallocan, 
whom  Ixtlilxochitl,  King  of 
Tezcuco,  placed  at  the  head 
of  his  troops  in  his  war  with 
Tezozomoc.  See  Clavigero, 
Storia  Antica  di  Messico, 
Tom.  I,  p.  185. 

QUETZALCOATL,      32,     I43,     144. 

See  note  on  p.  143. 

QuETZALMAMATZiN,  91.  Name 
of  a  warrior,  "the  noble  one 
of  the  beautiful  hands"  {qtiet- 
za/li,  7na>na,  pi.  of  niaitl,  and 
rev.  term.  tzm).  Perhaps  the 
same  as  Quetzalmemalitzin, 
ruler  of  Teotihuacan,  men- 
tioned by  Ixtlilxochitl,  His- 
toria  Chichnneca,  cap.  35. 

QuiAVHTZiN,  93.  Name  of  a 
warrior,  "The  noble  rain" 
[quiatiitl,  tzin). 

Tenochtitlan,  85.  The  cur- 
rent name  for  the  City  of 
Mexico;  literally,  "at  the 
stone-nopal,"  from  tetl,  stone, 


nochtli,  nopal,  and  postpos., 
tlatt.  The  term  refers  to  an 
ancient  tradition. 

Tepanecas  or  Tecpanecas, 
35.  A  powerful  nation  of 
Nahuatl  lineage,  who  dwelt 
in  the  valley  of  Mexico.  They 
were  destroyed  in  1425  by  the 
Acolhuas  and  Mexicans,  and 
later  the  state  of  Tiacopan 
was  formed  from  their  rem- 
nants. Comp.  probably  from 
iecpan,a.  royal  residence,  with 
the  gentile  termination. 

Tepeyacac,  Tepevacan,  93. 
From  tepef/,  mountain,  j-arrt/"/, 
nose,  point,  and  postpos  ,  c. 
I.  A  small  mountain  on 
which  the  celebrated  church 
of  the  Virgin  of  Guadalupe 
now  stands.  2.  A  large  town 
and  state  subject  to  ancient 
Mexico,  now  Tepeaca  in  the 
province  of  Puebla. 

Tetlapan  Quetzanitzin,  68, 
69.  A  ruler  of  Tlatilolco,  con- 
temporary of  the  conquest. 
See  Note  to  Song  VI.  ' 

Tetzcoco,  now  Tezcuco,  14, 
35,  36,  77-  Capital  city  of 
Acolhuacan,  and  residence 
of  Nezahualcoyotl.  It  has 
been  called  "the  Athens  of 
Anahuac."  The  derivation 
of  the  name  is  from  a  plant 
called  tetzcuUi  {Cod.  Rami- 
rez). 

Tezozomoc,  Tezozomoctli, 
35.  39.  67,  88,  89.  A  ruler  of 
the  Tepanecas,  celebrated  for 
his  warlike  skill  and  severity. 
His  death  is  placed  in  the 
year  1427.  The  name,  like 
Montezuma,  is  derived  from 
zonia,  to  be  angry,  in  this 
case  from  the  reduplicated 
frequentative  form,  zozoma. 

TizATLAN,  103.  "The  place  of 
white  varnish"  {tizail),  the 
name  of  one  of  the  four  quar- 
ters of  the  city  ofTlascala. 


176 


INDEX. 


Tlacomihuatzin,  93.  "The 
noble  cousin  of  the  lynx" 
{t/aconiizt/i,  lynx,  hitan,  post- 
pos.,  denoting  affinity,  tzin, 
reverential).  The  name  of 
a  warrior. 

Tlacopan,  now  Tacuba,  135. 
A  small  state  west  of  Mexi- 
co and  subject  to  it,  built  up 
on  the  ruins  of  the  ancient 
Tepanecas.  Comp.  from  tla- 
cotli,  a  slave. 

Tlahuican,  118.  A  Nahuatl 
province  south  of  the  valley 
of  Mexico,  so  called  from  the 
cinnabar,  tlahtdtl,  there  ob- 
tained (Buscimiann  ;  but  the 
Cod.  Ramirez  gives  the 
meaning"  toward  the  earth," 
from  tlalli  and  hide). 

Tlailotlacan,  140.  One  of 
the  seven  divisions  of  the 
city  of  Tezcuco  (Ixtlilxochitl, 
Hist.    Chichiyneca,   cap.    38). 

Tlailotl.^qui,  84.  Literally, 
"workers  in  refuse,"  or 
"scavengers."  Said  by  M. 
Aubin  to  have  been  a  tribe 
who  settled  in  Tezcuco  in 
the  reign  of  Quinantzin.  The 
term  is  apparently  one  of 
contempt. 

Tlalman.\lco,  42.  A  village 
near  the  foot  of  the  volcano 
Pojjocatei^etl.  Derived  from 
tlahnanalli,  level  ground, 
witii  postpos.  CO. 

Tlalnahuacatl, 89.  "Dweller 
on  the  land;"  name  of  a 
warrior. 

Tlaloc,  45.  God  of  rain  and 
the  waters ;  a  famous  divinity 
among  the  ancient  Mexicans. 
The  word  means  "  stretched 
on  the  earth,"  and  the  idol  of 
the  god  represented  a  man 
extended  on  his  back  holding 
a  vase. 

Tlapallan,  105.  A  mythical 
land  from  which  the  Toltecs 
were   fabled    to  have  come 


and  to  which  Quetzalcoatl 
returned.  The  derivation  is 
from  tlapalli,  color,  especially 
red. 

Tlatetolco,  Tlatilulco,  33, 
83,  85.  A  suburb  of  the  an- 
cient city  of  Mexico,  founded 
in  1338;  from  t  late  Hi,  a 
mound,  ololoa,  to  make 
round,  the  sense  being  "  an 
island."  See  Motolinia,  His- 
toria  de  los  hidios,  Trat.  Ill, 
cap.  7. 

Tlaxcallan,  now  Tlascala, 
89,  93,  103.  "  The  place  of 
bread,"  from  tlaxcalli,  bread. 
Site  of  a  warlike  tribe  of  Na- 
huatl descent,  east  of  the 
valley  of  Mexico. 

Tlatzin,  46.  Chief  of  a  town 
of  the  Chichimecs,  situated 
on  Lake  Chalco.  He  flour- 
ished toward  the  close  of  the 
14th  century.  From  tlatli,  a 
falcon. 

ToCHiN,  89.  From  tochtli, 
rabbit ;  name  of  the  brother 
of  the  Tezcucan  ruler  Quin- 
antzin, and  of  many  other 
personages. 

TOLLAN,     or     TULAN,     46,     I05, 

107.  The  ancient  mythical 
capital  of  the  Toltecs.  The 
common  derivation  from  to- 
lin,  a  rush,  is  erroneous. 
The  name  is  a  syncopated 
form  of  to?iatlan,  "  the  place 
of  the  sun." 

ToLTEC,  properly  Toltecatl, 
46,  III.  An  inhabitant  of 
Tollan.  The  Toltecs  were  a 
mythical  people,  whose  civil- 
ization was  supposed  to  have 
preceded  tiiat  of  the  Aztecs. 

TopiLTZiN,  46,  105.  "  Our  son" 
or  "  Our  lord  "  (see  Nopil- 
tzin).  The  term  was  espe- 
cially applied  to  Quetzal- 
coatl, q.  V.  See  Orozco  y 
Berra,  Hist.Antig.  de  Mexico, 
Tom.  Ill,  p.  54. 


INDEX. 


177 


ToTOQUiLHUATLi,  41.  From  to- 
toquilia,  to  act  as  agent  or 
lieutenant.  Ruler  of  Tlaco- 
pan.  The  verse  of  the  song 
in  which  this  name  occurs  is 
given  in  the  original  Nahuatl 
by  Ixtlilxociiitl,  who  says  it 
was  very  popular  throughout 
New  Spain.  See  his  Hisioria 
Chichiineca,  cap.  32. 

XiCALANCO,  107.  A  locality 
on  the  borders  of  the  prov- 
ince Tabasco.  The  people 
spoke  Nahuatl.  Deriv.  xi- 
calli,  gourd  or  jar,  and  post- 

pOS.  CO. 
XlCOMATZINTLAMATA,     34. 

Name  of  a  warrior  not  other- 
wise known.  The  compound 
seems  to  mean  "skillful  with 
angry  hand "  [xicoa,  maitl, 
tiaynati). 
XicoNTECATL,  103.  Name  of 
several  distinguished  Tlas- 
calan  warriors,  lords  of  Tiz- 
atlan.  See  Clavigero,  Hist. 
Aiitica  di  3Iessico,  Tom.  Ill, 
pp.  38  and  40,  One  was  a 
favorite  of  Nezahualcoyotl. 
See  Ixtlilxochitl,  Hisioria 
Chichimeca,  cap.  40. 


XlUHTEUCTLI,  15.     The  god  of 

fire,  literally,"  the  lord  of  ihe 
year,"  or  "of  the  foliage." 

XiUHTZAL,  46.  A  queen  of  an- 
cient Tollan,  said  by  Clavi- 
gero to  have  ruled  from  A. 
D.  979  to  984.  Other  writers 
give  tlie  name  more  correctly 
Xiuhtlaltziji,  "Lady  of  the 
Green  Fields,"  and  place  her 
death  in  987.  (Orozco  y 
Berra,  Hist.  Antig.  de  Mex- 
ico, Tom.  Ill,  p.  45.) 

XoLOTL,  46.  An  early  if  not 
the  first  king  of  the  Chichi- 
mecs.  His  death  occurred 
in  1232. 


YoHUALLATONOC, 89.  "Shining 
at  night."  Name  of  a  war- 
rior. 

Yopico,  22.  A  division  of  the 
ancient  city  of  IMexico,  con- 
taining a  temple  of  this  name. 
The  word  means  "the  place 
of  the  tearing  out  of  hearts" 
{jo//to/,pi,  co),  from  the  form 
of  sacrifice  there  carried  out. 

YovoNTZiN,  35,  40,  66,  67.  A 
name  of  Nezahualcoyotl. 
See  p.  35. 


LIBRARY 

oi- 

Aboriginal  American  Literature, 

Edited  and  Published  by 

DANIEL  G.  BRINTON,  M.D., 

Professor  of  American  Archeology  and  Linguistics,  in  the  University  of 
Pennsylvania,  Philadelphia,  U.  S.  A. 


THE  aim  of  the  editor  of  this  series  is  to  put  within  the  reach  of 
students  authentic  materials  for  the  study  of  the  languages 
and  culture  of  the  native  race  of  America. 

The  plan  is  to  print  only  such  works  as  have  been  composed  in 
the  native  languages  by  the  natives  themselves,  thus  presenting 
these  tongues  in  their  real  forms.  The  jargons  or  mixed  dialects, 
whose  importance  in  linguistic  science  is  now  recognized,  are 
included  in  this  scheme.  It  is  also  kept  in  view  to  select  pro- 
ductions which  have  some  historic  or  ethnologic  value  beyond 
that  to  philology  alone,  and  each  is  accompanied  with  translations, 
notes,  etc. 

There  have  now  been  seven  volumes  of  the  library  issued 
which  can  be  obtained  separately  at  the  prices  affi.xed.  The  edi- 
tions are  limited  to  about  400  copies,  barely  enough  to  meet  the 
expenses  of  manufacture,  and  it  is  hoped  that  the  interest  in 
American  ethnology  will  be  sufficient  to  admit  of  the  continuance 
of  the  series.  There  remains  in  the  editor's  hands  abundant 
I 


material  for  this.     If  the  expenses  of  the  works  can  be  defrayed 
by  their  sale,  he  hopes  to  publish  the  following  additional  volumes : 

I.  ABORIGINAL  AMERICAN  ANTHOLOGY.— A  collec- 
tion of  songs  from  ten  or  a  dozen  Indian  tribes,  with  notes, 
metrical  and  literal  translations,  etc.  The  material  for  this  is 
almost  ready. 

II.  NATIVE  AMERICAN  CALENDARS.— A  collection  of 
astronomical  and  astrological  calendars  in  the  native  languages 
of  Mexico  and  Central  America.  A  mass  of  curious  and  sugges- 
tive native  lore. 

III.  THE  ANNALS  OF  CUAUHTITLAN.— The  original 
text,  with  a  new  and  correct  translation  of  this,  the  most  valuable 
of  all  the  native  chronicles  of  ancient  Mexico. 

IV.  PROSE  AND  POETRY  FROM  THE  NAHUATL.— 
A  selection  of  extracts  from  Nahuatl  writers,  in  prose  and  verse, 
from  MSS.  or  extremely  rare  books,  illustrating  the  development 
of  the  language  and  the  psychology  of  the  nation. 

V.  LEGENDS  OF  THE  MICMACS.— A  collection  of  legends 
and  tales  in  the  Micmac  tongue,  composed  by  natives,  with  literal 
translations  and  a  comparative  study  of  Algonkin  folk-lore. 

VI.  THE  BOOKS  OF  CHILAN-  BALAM.— The  sacred 
volume  of  the  modern  Mayas,  one  of  the  most  remarkable  com- 
positions of  the  native  American  mind. 

These  and  other  works  of  a  similar  character  will  be  issued 
from  time  to  time,  if  sufficient  interest  in  the  series  is  manifested  by 
students  of  this  branch,  by  libraries  and  private  collectors,  to  meet 
the  cost  of  publishing  them. 

Up  to  the  present  time  this  has  scarcely  been  the  case;  and  the 
editor  feels  that  he  has,  perhaps,  undertaken  a  task  which  should 
be  that  of  a  Society  rather  than  a  private  individual ;  but  he 
hopes  the  result  of  this  appeal  will  enable  him  to  continue  the 
enterprise. 


In  order  to  show  the  estimate  which  has  been  phiced  by  critics 
and  Schorrs  upon  this  series,  so  far  as  issued,  the  editor  permits 

himself  to  quote  the  following  : — 

OPINIONS  AND  PRESS  NOTICES. 

"  It  is  to  be  hoped  that  the  InJian  publications  which  Dr.  Brintoii  is  issuing  will  meet 
with  a  wide  circle  of  readers,  and  that  others  besides  scholars  of  this  department  will 
interest  themselves  to  aid  the  work  he  has  so  vigorously  and  successfully  begun.  To 
his  call  on  'learned  societies,  enlightened  governments,  liberal  institutions,  and  indi- 
viduals throughout  the  world '  to  help  preserve  the  native  American  literature,  there 
should  be  many  Americans,  at  least,  to  respond." — Prof.  C.  H.  Toy,  in  the  American 
Journal  of  Philolosy.    Vol.  V. 

"  The  efforts  of  Dr.  Brinton  shcjuld  be  welcomed  by  all  antiquarian  students,  for  they 
are  not  only  original  contributions,  but  are  presented  in  a  readable  .ind  interesting 
manner." — The  American  Antiquarian.     Vol.  VI. 


"  Scholars  everj'where  should  vie  with  each  other  in  encouraging  this  laudable  enter- 
prise of  Dr.  Brinton.  There  are  many  specimens  of  aboriginal  literary  skill  extant, 
which  should  be  included  in  this  library,  as  they  are  almost  inaccessible  at  present."— 
The  Kansas  City  Review,  Aug.,  1885. 

•'  Around  the  '  red  man  '  native  to  America,  there  clusters  an  ever  deepening  interest, 
and  the  desire  to  know  more  concerning  him  increases  every  day.  Such  books  <as  those 
which  Dr.  Brinton  has  given  to  the  public  are  well  adapted  to  meet  these  require- 
ments."—r/j?  Chauiauguan,  Oct.,  1S85. 

"We  must  repeat  our  thanks  to  Dr.  Brinton  for  this  excellent  series,  and  again 
express  our  sincere  wishes  for  its  success.  To  the  antiquary,  philologist  and  ethnolo- 
gist these  volumes  are  of  the  highest  interest;  and  we  hope  that  their  publication  will  be 
continued  until  all  available  material  is  exhausted." — Notes  and  Queries,  London, 
May,  1S86. 

Die  Denkmaler,  aus  denen  wir  unsere  Kenntnisse  der  friiheren  Zustande  der  ameri- 
kanischen  Volker  schopfen  konnen,  reichen  bekanntlich  nicht  weit  zuriick  und  sind 
mitunter  hochst  unzuverlassig.  Was  unsere  Vorfahren,  befangen  von  einer  beschrankten 
und  verkehrten  Weltanschauung,  versaumt  haben,  namlich  die  sparlichen  Ueberreste 
der  literarischen  Production  der  amerikanischen  Aboriginer  zu  sarameln,  jene  Versiium- 
niss  nach  Kraften  gutzumachen,  dies  ist  der  Zweck  einer  von  dem  bekannten  Amerikan- 
isten  D.\NiEL  G.  Bkinton  in  Philadelphia  unternommenen  Publication 

Brinto.n-'s  Library  muss  in  ihrer  soliden  Ausfiihrung  als  ein  Quellenwerk  ersten 
Ranges  bezeichnet  werden.— Prof.  Friedrich  Miiller,  of  Vienna,  in  the  Miltheil.  der 
Wiener  Anthropol.  Gesell. 

"  On  ne  peut  que  remercier  le  savant  professeur  de  Philadelphie  pour  cette  cxcellente 
edition.  L'oeuvre  qu'il  a  entreprise  et  qu'il  mene  si  activement,  aura  certaincment  pour 
resultat  de  repandre  aux  Etats-Unis  le  gout  des  etudes  historiques  Americaines.  M. 
Brinton  aura  ainsi  rendu  un  signale  service  i  I'ethnographie  et  i  l'archa;ologie  du 
nouveau  continent."— Desire  Charnay,  in  the  Hevue  d^ Ethnographie,  1884. 

"We  hope  that  Dr.  Brinton  will  receive  every  encouragement  in  his  labors  to  dis- 
close to  Americans  these  literary  antiquities  of  the  Continent.  He  eminently  deserves 
it,  both  by  the  character  of  his  undertaking  and  the  quality  of  his  work."— 7"<4f  Ameri- 
can (Philadelphia). 

3 


In  1885  the  Socicte  Americaine  de  France  decreed  the 
bestowal  of  a  medal  upon  the  editor  of  this  series,  in  the 
following  terms : — 

"\]nt  Medailie  de  la  Socii/i  Americaine  d'apres  une  composition  nou- 
velle  de  M.  le  statuaire  H6gel,  i  M.  le  Docteur  Daniel  G.  Brinton,  i  Phil- 
adelphie,  d616gue  general  de  1' Alliance  Scientifique  Universelle  pour  les 
Etats-Unis,  qui,  dans  ces  derniers  temps,  s'est  placd  par  ses  nombreux  et 
savants  travaux  au  premier  rang  des  Am^ricanistes  du  Nouveau  Monde." — 
Rapport  Annuel  sur  les  Recompenses  et  Encouragements,  Paris,  1S85. 

The  following  list  of  the  numbers  of  the  library  already  issued 
will  acquaint  the  reader  with  the  character  of  each.  All  are  printed 
in  uniform  style,  on  heavy  laid  paper,  of  the  best  quality,  and  are 
bound  in  cloth  only.  Each  work  can  be  had  separately  for  the 
price  affixed. 


No.  I.     THE  CHRONICLES  OF  THE  MAYAS. 

Edited  by  DANIEL  G.  BRINTON,  M.D.     279   pages.     Cloth,  uncut,  $5.00.     ($3.00 
when  a  complete  set  Is  ordered). 

This  volume  contains  five  brief  chronicles  in  the  Maya  language 
of  Yucatan,  written  shortly  after  the  conquest,  and  carrying  the 
history  of  that  people  back  many  centuries.  To  these  is  added  a 
history  of  the  Conquest,  written  in  his  native  tongue,  by  a  Maya 
Chief,  in  1562.  The  texts  are  preceded  by  an  introduction  on  the 
history  of  the  Mayas;  their  language,  calendar,  numerical  system, 
etc.;  and  a  vocabulary  is  added  at  the  close. 

"  Dr.  Brinton's  work  upon  the  history  of  the  M.iyas  of  Yucatan,  is  a  most  import.int 
contribution  to  the  literature  of  American  antiquities.  Comparative  linguists,  as  well  as 
archaiologists,  will  find  a  new  and  very  interesting  subject  of  study  in  these  remains." — 
The  {London)  Saturday  Review. 

"  Jede  Chronik  wird  im  Originaltext,  in  englischer  Uebersetzung  und  mit  erkliirenden 
Noten  mitgetheilt.  Diese  Chroniken  setzen  mis  in  den  Stand,  die  Geschichte  des  Maya- 
Stammcs  eine  geraume  Zeit  hinter  die  Epoche  der  Eroberung  des  Landes  durch  die 
Spanier  zuriick  zu  verfolgen." — Prof.  Friedrich  Miiller  in  the  Mitt,  der  Wiener 
Anthrop.  Cesell. 

4 


"  The  author  treats  in  a  learned  introduction  of  the  name  Maya,  of  the  linguistic 
family  designated  by  this  word,  of  the  origin  of  the  tribe  so-called,  of  their  hieroglyphic 
books,  and  of  the  modern  monuments  of  their  literature.  *  *  •  The  capital  piece  in 
the  volume  is  the  chronicle  of  Chicxulub,  written  by  Nakuk  Pcch,  in  1562.  Here  we 
have  to  do  with  an  instructed  and  intelligent  man,  a  Cacique  deeply  concerned  in  the 
great  events  of  which  his  country  was  the  theatre  on  the  arrival  of  the  Spaniards,  who 
relates  facts  of  which  he  was  an  eye  witness.  *  *  *  In  publishing  these  chronicles, 
and  this  interesting  record  of  a  native  chieftain,  the  editor  has  rendered  an  important 
service  to  history." — Revue  d'Ethnographie,  1SS4. 


No.  II.     THE  IROQUOIS  BOOK  OF  RITES. 

Edited  by  HORATIO  HALE.    222  pages.    Cloth,  uncut,  $3.00. 

This  work  contains,  in  the  Mohawk  and  Onondaga  Languages, 
the  speeches,  songs  and  rituals  with  which  a  deceased  chief  was 
lamented  and  his  successor  installed  in  office.  It  may  be  said  to 
throw  a  distinct  light  on  the  authentic  history  of  Northern  America 
to  a  date  fifty  years  earlier  than  the  era  of  Columbus.  The  Intro- 
duction treats  of  the  ethnology  and  history  of  the  Huron-Iroquois. 
A  map,  notes  and  a  glossary  complete  the  work. 

"  Mr.  Hale's  book  is  likely  to  make  an  epoch  in  North  American  Indian  historj', 
giving,  as  it  does,  a.  clearer  insight  than  we  have  had  before  into  the  political  constitu- 
tion and  fortunes,  and  the  personal  character  of  the  famous  '  Six  Nations,'  who  played 
so  prominent  a  part  in  the  land  before  and  during  the  Revolutionary  War." — American 
Journal  0/ Philology.     Vol.  V. 

"  This  work  may  be  said  to  open  a  field  of  Indian  research  new  to  ethnologists.  *  * 
These  precious  relics  of  antiquity  are  concise  in  their  wording,  and  full  of  meaning. 
*  *  *  The  additions  made  by  Mr.  Hale  are  almost  as  valuable  as  the  text  them- 
selves."—  The  Nation,  New  York,  September  13,  1883. 

"  The  reputation  of  the  author  added  to  this  fascinating  title,  will  insure  its  favorable 
reception,  not  only  by  ethnologists,  but  also,  the  reading  public.  *  *  *  A  remarkable 
discovery,  and  indisputably  of  great  ethnological  value.  *  *  *  A  book  which  is  as 
suggestive  as  this  must  bear  good  Uu\t."—Scieitce,  August  31,  1883. 

"  The  book  is  one  of  great  ethnological  value,  in  the  light  it  casts  on  the  political  and 
social  life,  as  well  as  the  character  and  capacity,  of  the  people  with  whom  it  originated." 
— Popular  Science  Monthly,  November,  1883. 

"  It  is  full  of  instructive  hints,  particularly  as  bearing  on  the  state  of  so-called  sav.ages 
before  they  are  brought  in  contact  with  so-called  civilized  men.  Such  evidence  is,  from 
the  nature  of  the  case,  very  difficult  to  obtain,  and  therefore  all  the  more  valuable."— 
Prof.  F.  Max  MuUer. 

"  It  is  a  philosophical  and  masterly  treatise  on  the  Iroquois  league  and  the  cognate 
tribes,  their  relations,  language,  mental  characteristics  and  polity,  such  as  we  have  never 
had  of  any  nation  of  this  Continent." — Dr.  J.  Gilmary  Shea. 

5 


No.  III.     THE  COMEDY-BALLET  OF  GUEGUENCE. 

Edited  by  DANIEL  G.  BRINTON,  M.D.  146  pages.  Cloth,  uncut,  $2.50. 
A  curious  and  unique  specimen  of  the  native  comic  dances, 
with  dialogues,  called  bailes,  formerly  common  in  Central  America. 
It  is  in  the  mixed  Nahuatl-Spanish  jargon  of  Nicaragua,  and 
shows  distinctive  features  of  native  authorship.  The  introduction 
treats  of  the  ethnology  of  Nicaragua,  and  the  local  dialects,  musi- 
cal instruments,  and  dramatic  representations.  A  map  and  a 
number  of  illustrations  are  added. 

"  Critics  and  Scholars  are  bound  to  recognize  the  value  of  this  curious  book." —  The 
{^London)  Saturday  Re^'iew. 

"  We  have  here  a  work  of  careful  research.  Nothing  seems  to  be  lacking  which  the 
interests  of  this  new  field  of  study  demand." — The  Boston  Universalist  Quarterly. 

"  The  GiiegUence  is  the  only  specimen  now  known  of  the  native  American  comedy. 
The  character  of  the  principal  figure  is  a  marked  type  of  that  peculiar  kind  of  humor 
preferred  by  the  native  mind.  This  original  production,  with  its  valuable  notes,  should 
attract  attention  and  awake  an  intelligent  interest." — The  Universalist  Quarterly, 
18S4. 


No.  IV.  A  MIGRATION  LEGEND  of  the  CREEK  INDIANS. 

By  A.  S.  6ATSCHET.    251  pages.    Cloth,  uncut,  $3.00. 

This  learned  work  offers  a  complete  survey  of  the  ethnology  of 
the  native  tribes  of  the  Gulf  States.  The  strange  myth  or  legend 
told  to  Gov.  Oglethorpe,  in  1732,  by  the  Creeks,  is  given  in  the 
original,  with  an  Introduction  and  Commentary. 

"  Mr.  Gatschet's  book  is  devoted  to  the  early  history  and  traditions  of  the  tribes  that 
inhabited  the  watershed  of  the  north  shore  of  the  Gulf  of  JMexico.-especially  the  Maskoki 
family,  the  most  important  member  of  which  was  the  Creek  Nation.  The  first  part 
treats  of  tlie  ethnic  and  linguistic  groups  of  this  region,  the  second  part  of  the  Kasi'hta 
form  of  the  migration-legend.  A  second  volume  is  to  give  the  Hitchiti  version,  the 
notes  .and  vocabulary.  Mr.  G.atschet  has  put  into  convenient  shape  a  good  deal  of  infor- 
mation respecting  these  tribes,  and  seems  to  have  proceeded  cautiously  in  the  use  of  his 
authorities.  He  leaves  undecided  the  question  whether  the  Creeks  crossed  the  Missis- 
sippi going  eastward  in  their  migration.  His  remarks  on  the  mytholog}',  though  brief, 
are  judicious.  The  linguistic  remarks  also  are  brief.  The  author  thinks  that  the 
parent  Maskoki  language  cannot  now  be  reconstructed  ;  at  most  a  comparative  grammar 
of  the  existing  dialects  might  be  written,  and  he  points  out  what  these  dialects  have  in 
common,  so  far  as  can  be  m.ide  out  from  published  accounts." — American  Journal  0/ 
Philology. 

6 


No.  V.     THE  LENAPE  AND  THEIR  LEGENDS. 

By  Dr.  DANIEL  G.  BRINTON.    Cloth,  uncut,  $3.00. 

Contains  the  complete  text  and  symbols,  184  in  number,  of  the 
Walam  Olum  or  Red  Score  of  the  Delaware  Indians,  with  the 
full  original  text,  and  a  new  translation,  notes  and  vocabulary, 
A  lengthy  introduction  treats  of  the  Lenapc  or  Delawares,  their 
history,  customs,  myths,  language,  etc.,  with  numerous  references 
to  other  tribes  of  the  great  Algonkin  stock. 

"  The  editor,  as  might  be  expected  from  his  well-known  attainments,  has  illuminated 
this  Indian  narrative  with  a  great  wealth  of  illustration,  historical,  ethnological,  and  lin- 
guistic, set  forth  in  a  clear  and  attractive  style.  The  recent  history  of  the  Delawares, 
their  religious  belief,  their  customs  and  language,  are  carefully  explained,  so  far  as  is 
necessary  for  an  understanding  of  the  original  work.  .Altogether,  the  volume  may  be 
fairly  said  to  form  one  of  the  most  important  and  interesting  contributions  to  American 
archaeology  and  ethnology  that  have  appeared  for  many  years. "^ — The  {Neiv  York) 
Critic. 


"  Dr.  Brinton's  wide  reading  and  industrious  research  enable  him  to  present  us  with 
useful  materials,  among  which,  if  employed  with  due  caution,  the  '  Walam  Olum  '  must 
certainly  be  reckoned.  The  historical  introductions  are  also  valuable,  especially  as  early 
Americana,  copiously  quoted  here,  are  very  scarce,  and  so  expensive  as  often  to  be  out 
of  the  reach  of  the  student." — The  London  Saturday  Re^'iew. 

"Dr.  D.  G.  Brinton's  latest  contribution  (No.  V)  to  the  Library  of  Aboriginal 
American  Literature  is  not  less  valuable  than  its  predecessors.  It  gives  many  legends 
of  the  Lenapes  and  redeems  from  oblivion  an  aboriginal  chronicle  which  has  long  been 
looked  upon  askance  by  Americanists  and  denounced,  by  not  a  few,  as  a  forgery  of  the 
eccentric  Raiinesque."     *    *     *     The  Kansas  City  Review,  l8SS- 


No.  VI.     THE  ANNALS  OF  THE  CAKCHIQUELS. 

Edited  by  DANIEL  G.  BRINTON,  M.D.    234  pages.    Cloth,  uncut,  $3.00. 
The  original  text,  written  about  1562,  by  a  member  of  the  reign- 
ing family,  with  a  translation,  introduction,  notes  and  vocabulary. 
This  may  be  considered   one   of  the   most  important  historical 
documents  relating  to  the  pre-Columbian  period. 

"  Dr.  Brinton's  volume  is  one  of  those  complete  and  satisfying  treatises,  marked  by 
careful  research,  clear  exposition,  and  judicious  comment,  to  which  he  has  accustomed 
his  readers.  The  translation  bears  every  mark  of  painstaking  fidelity  ;  and  the  intro- 
d ..ction,  notes  and  vocabulary  supply  all  the  aids  that  a  student  will  need.  It  is  to  be 
hoped  that  the  present  work  will  be  followed  by  the  Popol  Vuh  of  the  Quiches— that 
remarkable  record  to  which  Brasseur's  fanciful  interpretations  gave  special  notoriety, 
and  which,  uiuier  Dr.  Brinton's  recension,  will  assume  its  proper  place  and  permanent 
value." — The  (New  York   Critic. 

7 


Dr.  Brinton  has  added  another  interesting  book  to  his  editions  of  American  texts. 
The  Cakchiquels  occupied  a  ponion  of  the  area  of  the  present  State  of  Guatemala.  The 
annals  here  published  are  from  the  pen  of  one  of  their  own  authors,  a  member  of  a  dis- 
tinguished family.  He  describes  the  early  history  of  his  people  and  the  arrival  of  the 
Castilians,  with  the  events  that  followed  their  conquest.  These  are  not  very  remarkable, 
but  they  serve  to  give  a  picture  of  the  times. 

The  editor  has  prefixed  an  index  in  which  he  discusses  the  ethnological  position  of  the 
Cakchiquels;  their  culture;  their  capital  city;  computation  of  time;  personal  and 
family  names  ;  tribal  subdivisions ;  terms  of  affinity  and  salutations ;  titles  and  social 
castes ;  religious  notions  and  language.  The  people,  like  the  Mayas  and  Aztecs,  were 
agriculturists  and  builders.  They  had  the  art  of  picture-writing,  but  the  editor  leaves  it 
undecided  whether  their  system  was  derived  from  that  of  the  Mexicans  or  that  of  the 
Mayas.  Their  literature  consisted  of  poems  and  dramas.  The  form  of  government  was  a 
limited  monarchy,  the  regal  power  being  divided  between  two  families,  to  one  of  which 
belonged  the  author  of  the  Annals.  — TVjtr  American  Journal  of  Philology. 


No.  VII.     ANCIENT  NAHUATL  POETRY. 

Edited  by  D.  G.  BRINTON,  M  D.  176  pages.  Cloth,  uncut,  $3.00. 
In  this  volume  twenty-seven  songs  in  the  original  Nahuatl  are 
presented,  with  translation,  notes,  vocabulary,  etc.  Many  of  them 
date  from  before  the  conquest,  and  none  later  than  the  sixteenth 
century.  They  have  remained  wholly  unpublished  and  untrans- 
lated ;  several  are  attributed  to  the  famous  royal  poet,  Nezahual- 
coyotl.  The  introduction  describes  the  ancient  poetry  of  the 
Nahuas  in  all  its  bearings. 

Contents. — Introduction ;  the  National  Love  of  Poetry  among  the  Azteca  ;  the 
Poet  and  his  Work ;  the  Themes  and  Classes  of  the  Songs  ;  Prosody  of  the  Songs  ; 
Vocal  Delivery  of  the  Songs;  the  Instrumental  Accompaniment;  the  Preservation  of 
the  Ancient  Songs  ;  The  LX  Songs  of  the  King  Nezahualcoyotl ;  the  History  of  the 
present  Collection. 

XXVII  Ancient  Nahuatl  Poems,  with  English  Translation. 

Notes,  Grammatical  and  Historical,  upon  the  Native  Text. 

Vocabulary.     Index  of  Nahuatl  Proper  Names,  with  Analysis. 

In  spite  of  the  patient  researches  of  Boturini.  von  Humboldt,  Lord  Kingsborough  and 
others  devoted  to  the  preservation  of  the  literature  of  the  ancient  Mexicans,  not  a  single 
song  of  an  authentic  character  has  ever  been  published  in  the  native  tongue.  Prescott, 
in  his  History  of  the  Conquest  of  Mexico,  Mlihlenpfordt,  and  later,  H.  H.  Bancroft, 
have  offered  incorrect  translations  or  imitations  of  these  interesting  productions ;  but 
in  this  volume,  for  the  first  time,  the  genuine  originals  are  printed,  with  a  coherent 
English  version. 


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